Intellectual Passion: Philosophy, Movies and World Politics - as well as - a life-long interest in strategic thinking both in theory and practice, with an emphasis on questions of choice and decision-making in conditions of uncertainty - and as to education: B.Sc Mathematics and Computer Science, MA History and Philosophy of science and ideas, emphasis on Advanced Probability and Game Theory, Tel Aviv University, PhD Logic and Philosophy, Columbia University in the City of New York
After Modernism, mentioning the term imitation in the context of art or art appreciation, in a ma... more After Modernism, mentioning the term imitation in the context of art or art appreciation, in a manner that is not pejorative, is almost unacceptable.' On the other hand, imitation is, without a doubt, a guiding principle in acquiring artistic skills-as seen in any basic drawing class. Furthermore, in what we may label as the layman's conception of art, imitation plays a crucial role even today. What, then, are we to say about imitation and art? In considering an answer, we have to start with Plato, for imitation plays a crucial role in Plato's metaphysics. The partaking relation said to hold between objects and their Platonic forms is also one of imitation: the object imitates or attempts to become its relevant form; it strives to be yet falls short of its Platonic form. Another use of imitation that Plato considers is that of the
In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is... more In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo - a recently surfaced painting claimed to be by Leonardo da Vinci, which remains highly disputed, and the grandiose saga of van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule - thereby giving structure to the ‘one-of-its-kind’ property that we associate with the Original. Our final remarks discuss the relevance of our analysis to the digital art of today. | Keywords: Digital Art, The Original, Singular Rule, Walter Benjamin, Nelson Goodman
The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a ph... more The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key...
Articles Achieving Social and Cultural Educational Objectives through Art Historical Inquiry Prac... more Articles Achieving Social and Cultural Educational Objectives through Art Historical Inquiry Practices, Jacqueline Chanda, 4:24. Art as a Singular Rule, Doron Avital, 1:20. Avital, Doron, Art as a Singular Rule, 1:20. Beliavsky, Ninah, Discover the Unknown Chekhov in Your ...
Abstract
In Philosophical Investigations, Wittgenstein argues that we can neither say of the stan... more Abstract In Philosophical Investigations, Wittgenstein argues that we can neither say of the standard One Metre in Paris that it is a single metred length, nor that it is not. Kripke's reply to the puzzle is well known: the sentence expressing the assertion that the standard One Metre is one metre in length (at time t0) is a true, a priori and contingent sentence. In this paper, I would like to show the nature of the intuition that runs behind Kripke's reply to the puzzle, and why, in the final analysis, it is not satisfactory, with respect to the point made by Wittgenstein. In addition, I will show that the case of the One Metre in Paris exemplifies the radical break Wittgenstein makes with traditional concepts of meaning. I then draw a general lesson that shows that the structure of concepts and functions (measures) in Wittgenstein is given by the idea of an arbitrary choice of “an object of comparison.” Concepts and functions (measures) are materialised and internalised in the form of objects that are arbitrarily sampled from a sample space of same logical-type objects.
Abstract: The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to fu... more Abstract: The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not (potentially) refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. Keywords: Tomas Kulka, Representation, Nelson Goodman, Kitsch, Art.
School of Political Science, Government and International Relations, Tel Aviv University
Abstract
This paper analyzes the "Trump phenomenon" as a reference point for an examination of a ... more Abstract This paper analyzes the "Trump phenomenon" as a reference point for an examination of a comprehensive historical process whose essence is an attack targeting “the liberal order.” This process is gaining momentum today with the Coronavirus Pandemic and its global implications. The uniqueness of the move elaborated in this paper is the examination of the subject matter through the prism of the philosophy of language and logic that played center stage in the story of the analytic philosophy of the 20th century. This period saw the planting of the seeds that resonate today in the political and economic upheaval that is engulfing the world and that threatens to bring on the collapse of the old liberal order.
TAU Handout, Logic in Action: Planning and Strategy for the 21st century, 2020 Tel Aviv Univers... more TAU Handout, Logic in Action: Planning and Strategy for the 21st century, 2020 Tel Aviv University
Abstract
Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's life... more Abstract Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance
Meaning in Motion: An Inquiry into the Logic of the Tractatus, Publisher: Verlag Dr. Muller Aktiengesellschaft & Co. KG, 2008
How does one negate or reverse a picture? How could two independent pictures add up to create a n... more How does one negate or reverse a picture? How could two independent pictures add up to create a new single picture, in a manner that answers not only to pictorial integrity but also to logic? These questions anchor the present inquiry into the logic of Ludwig Wittgenstein's Tractatus Logico-Philosophicus (first published 1921). A philosophical masterpiece of the 20th century, the Tractatus attracted the imagination and mind of generations of philosophers, all struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge by way of inquiring into the underlying structure that must bind together the idea of pictorial representation, the possibility of motion and the question of logic.
The concept of repetition makes its appearance in our language, practice and education, both as a... more The concept of repetition makes its appearance in our language, practice and education, both as a term of belittling and as a term of praise. We belittle those agents who repeat like parrots or monkeys, and we praise law-abiding citizens who repeat (adhere to) laws to the letter. I will argue that the readily available model we have for the following of rules is that of repetition and, further, I will argue that this model is at the core of Wittgenstein's analysis and critique of the picture of following rules that "held us captive." I suggest a conceptual framework wherein mistakes and repetitions are identified as one, and doing what is right (and what is true) is modeled on what I will term extension. I further argue that education is where we repeat, which is the equivalent of exercising, but that the point of the educational exercise is that we do not repeat in real life, but try and do what is right.
After Modernism, mentioning the term imitation in the context of art or art appreciation, in a ma... more After Modernism, mentioning the term imitation in the context of art or art appreciation, in a manner that is not pejorative, is almost unacceptable.' On the other hand, imitation is, without a doubt, a guiding principle in acquiring artistic skills-as seen in any basic drawing class. Furthermore, in what we may label as the layman's conception of art, imitation plays a crucial role even today. What, then, are we to say about imitation and art? In considering an answer, we have to start with Plato, for imitation plays a crucial role in Plato's metaphysics. The partaking relation said to hold between objects and their Platonic forms is also one of imitation: the object imitates or attempts to become its relevant form; it strives to be yet falls short of its Platonic form. Another use of imitation that Plato considers is that of the
In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is... more In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo - a recently surfaced painting claimed to be by Leonardo da Vinci, which remains highly disputed, and the grandiose saga of van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule - thereby giving structure to the ‘one-of-its-kind’ property that we associate with the Original. Our final remarks discuss the relevance of our analysis to the digital art of today. | Keywords: Digital Art, The Original, Singular Rule, Walter Benjamin, Nelson Goodman
The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a ph... more The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key...
Articles Achieving Social and Cultural Educational Objectives through Art Historical Inquiry Prac... more Articles Achieving Social and Cultural Educational Objectives through Art Historical Inquiry Practices, Jacqueline Chanda, 4:24. Art as a Singular Rule, Doron Avital, 1:20. Avital, Doron, Art as a Singular Rule, 1:20. Beliavsky, Ninah, Discover the Unknown Chekhov in Your ...
Abstract
In Philosophical Investigations, Wittgenstein argues that we can neither say of the stan... more Abstract In Philosophical Investigations, Wittgenstein argues that we can neither say of the standard One Metre in Paris that it is a single metred length, nor that it is not. Kripke's reply to the puzzle is well known: the sentence expressing the assertion that the standard One Metre is one metre in length (at time t0) is a true, a priori and contingent sentence. In this paper, I would like to show the nature of the intuition that runs behind Kripke's reply to the puzzle, and why, in the final analysis, it is not satisfactory, with respect to the point made by Wittgenstein. In addition, I will show that the case of the One Metre in Paris exemplifies the radical break Wittgenstein makes with traditional concepts of meaning. I then draw a general lesson that shows that the structure of concepts and functions (measures) in Wittgenstein is given by the idea of an arbitrary choice of “an object of comparison.” Concepts and functions (measures) are materialised and internalised in the form of objects that are arbitrarily sampled from a sample space of same logical-type objects.
Abstract: The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to fu... more Abstract: The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not (potentially) refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. Keywords: Tomas Kulka, Representation, Nelson Goodman, Kitsch, Art.
School of Political Science, Government and International Relations, Tel Aviv University
Abstract
This paper analyzes the "Trump phenomenon" as a reference point for an examination of a ... more Abstract This paper analyzes the "Trump phenomenon" as a reference point for an examination of a comprehensive historical process whose essence is an attack targeting “the liberal order.” This process is gaining momentum today with the Coronavirus Pandemic and its global implications. The uniqueness of the move elaborated in this paper is the examination of the subject matter through the prism of the philosophy of language and logic that played center stage in the story of the analytic philosophy of the 20th century. This period saw the planting of the seeds that resonate today in the political and economic upheaval that is engulfing the world and that threatens to bring on the collapse of the old liberal order.
TAU Handout, Logic in Action: Planning and Strategy for the 21st century, 2020 Tel Aviv Univers... more TAU Handout, Logic in Action: Planning and Strategy for the 21st century, 2020 Tel Aviv University
Abstract
Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's life... more Abstract Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance
Meaning in Motion: An Inquiry into the Logic of the Tractatus, Publisher: Verlag Dr. Muller Aktiengesellschaft & Co. KG, 2008
How does one negate or reverse a picture? How could two independent pictures add up to create a n... more How does one negate or reverse a picture? How could two independent pictures add up to create a new single picture, in a manner that answers not only to pictorial integrity but also to logic? These questions anchor the present inquiry into the logic of Ludwig Wittgenstein's Tractatus Logico-Philosophicus (first published 1921). A philosophical masterpiece of the 20th century, the Tractatus attracted the imagination and mind of generations of philosophers, all struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge by way of inquiring into the underlying structure that must bind together the idea of pictorial representation, the possibility of motion and the question of logic.
The concept of repetition makes its appearance in our language, practice and education, both as a... more The concept of repetition makes its appearance in our language, practice and education, both as a term of belittling and as a term of praise. We belittle those agents who repeat like parrots or monkeys, and we praise law-abiding citizens who repeat (adhere to) laws to the letter. I will argue that the readily available model we have for the following of rules is that of repetition and, further, I will argue that this model is at the core of Wittgenstein's analysis and critique of the picture of following rules that "held us captive." I suggest a conceptual framework wherein mistakes and repetitions are identified as one, and doing what is right (and what is true) is modeled on what I will term extension. I further argue that education is where we repeat, which is the equivalent of exercising, but that the point of the educational exercise is that we do not repeat in real life, but try and do what is right.
This paper analyzes the "Trump phenomenon" as a reference point for an examination of a comprehen... more This paper analyzes the "Trump phenomenon" as a reference point for an examination of a comprehensive historical process whose essence is an attack targeting "the liberal order." This process is gaining momentum today with the Coronavirus Pandemic and its global implications. The uniqueness of the move elaborated in this paper is the examination of the subject matter through the prism of the philosophy of language and logic that played center stage in the story of the analytic philosophy of the 20 th century. This period saw the planting of the seeds that resonate today in the political and economic upheaval that is engulfing the world and that threatens to bring on the collapse of the old liberal order.
AJES Afeka College , Journal of Engineering & Science , 2022
In 2021, an NFT of a digital artwork by the artist @beeple was sold for 69 million dollars. This ... more In 2021, an NFT of a digital artwork by the artist @beeple was sold for 69 million dollars. This sale is the starting point for a logical-historical journey tracing the fate of the original in the digital age. We follow the footsteps of two seminal works exploring the concept of the original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book Languages of Art. We examine two case studies: the Lost Leonardo – a painting that surfaced recently and claimed to be painted by Leonardo da Vinci, yet remains highly disputed, and the grandiose saga of Van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule – thereby giving structure to the “one of its kind” property that we associate with the original. Our final remarks discuss the relevance of our analysis to the digital art of today.
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Papers by Doron Avital
In Philosophical Investigations, Wittgenstein argues that we can neither say of the standard One Metre in Paris that it is a single metred length, nor that it is not. Kripke's reply to the puzzle is well known: the sentence expressing the assertion that the standard One Metre is one metre in length (at time t0) is a true, a priori and contingent sentence. In this paper, I would like to show the nature of the intuition that runs behind Kripke's reply to the puzzle, and why, in the final analysis, it is not satisfactory, with respect to the point made by Wittgenstein. In addition, I will show that the case of the One Metre in Paris exemplifies the radical break Wittgenstein makes with traditional concepts of meaning. I then draw a general lesson that shows that the structure of concepts and functions (measures) in Wittgenstein is given by the idea of an arbitrary choice of “an object of comparison.” Concepts and functions (measures) are materialised and internalised in the form of objects that are arbitrarily sampled from a sample space of same logical-type objects.
sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not (potentially) refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art.
Keywords: Tomas Kulka, Representation, Nelson Goodman, Kitsch, Art.
This paper analyzes the "Trump phenomenon" as a reference point for an examination of a comprehensive historical process whose essence is an attack targeting “the liberal order.” This process is gaining momentum today with the Coronavirus Pandemic and its global implications. The uniqueness of the move elaborated in this paper is the examination of the subject matter through the prism of the philosophy of language and logic that played center stage in the story of the analytic philosophy of the 20th century. This period saw the planting of the seeds that resonate today in the political and economic upheaval that is engulfing the world and that threatens to bring on the collapse of the old liberal order.
Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance
Logiḳah be-peʻulah = Logic in action
Author: אביטל, דורון. דורון אביטל. ; Doron Avital
Publisher: כנרת : זמורה-ביתן מוציאים לאור, Or Yehudah : Kineret : Zemorah-Bitan, motsiʼim le-or, [2012] ©2012
Edition/Format: Print book : HebrewView all editions and formats
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Decision making.
Reasoning.
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Drafts by Doron Avital
In Philosophical Investigations, Wittgenstein argues that we can neither say of the standard One Metre in Paris that it is a single metred length, nor that it is not. Kripke's reply to the puzzle is well known: the sentence expressing the assertion that the standard One Metre is one metre in length (at time t0) is a true, a priori and contingent sentence. In this paper, I would like to show the nature of the intuition that runs behind Kripke's reply to the puzzle, and why, in the final analysis, it is not satisfactory, with respect to the point made by Wittgenstein. In addition, I will show that the case of the One Metre in Paris exemplifies the radical break Wittgenstein makes with traditional concepts of meaning. I then draw a general lesson that shows that the structure of concepts and functions (measures) in Wittgenstein is given by the idea of an arbitrary choice of “an object of comparison.” Concepts and functions (measures) are materialised and internalised in the form of objects that are arbitrarily sampled from a sample space of same logical-type objects.
sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not (potentially) refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art.
Keywords: Tomas Kulka, Representation, Nelson Goodman, Kitsch, Art.
This paper analyzes the "Trump phenomenon" as a reference point for an examination of a comprehensive historical process whose essence is an attack targeting “the liberal order.” This process is gaining momentum today with the Coronavirus Pandemic and its global implications. The uniqueness of the move elaborated in this paper is the examination of the subject matter through the prism of the philosophy of language and logic that played center stage in the story of the analytic philosophy of the 20th century. This period saw the planting of the seeds that resonate today in the political and economic upheaval that is engulfing the world and that threatens to bring on the collapse of the old liberal order.
Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can serve as a model of reality. My work concentrates on three pillars of the logic of the Tractatus: the picture theory, negation as "reversal of sense," the independence of elementary propositions. Using a simple scenario of the ordering of objects or letters on a line, I examine the conflict generated by the attempt to adequately accommodate all three themes and offer my own solution. My solution brings implications to the problem of negation and to the Tractatus's thesis that the possibilities of logical space are spanned by the possible configurations of the ultimately simple objects. One such implication, which stands in contrast to the common reading, is that in atomic facts we have 'complex objects' as constituents. ;The resolution offered, furthermore, exposes an intrinsic difficulty in the Tractatus, for which I have reserved the term arbitrary choice. The difficulty is manifested in the lack of assurance---from the perspective of logic---that a concept-word will preserve its 'standard' meaning when it is reapplied or when its scope of application varies. In this I uncover the seed of central themes in Wittgenstein's later philosophy, e.g. the rule-following argument, as present already in the Tractatus. ;In the concluding chapter, I suggest a new account for the nature of the proposition by connecting the analysis offered in the Tractatus with the subject of time and motion. The picture with which the work concludes then considers language not as corresponding to reality, but as engaged or synchronized with reality---if you will, it is a picture of language and reality in a dance
Logiḳah be-peʻulah = Logic in action
Author: אביטל, דורון. דורון אביטל. ; Doron Avital
Publisher: כנרת : זמורה-ביתן מוציאים לאור, Or Yehudah : Kineret : Zemorah-Bitan, motsiʼim le-or, [2012] ©2012
Edition/Format: Print book : HebrewView all editions and formats
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Subjects
Logic.
Decision making.
Reasoning.
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