Wittgenstein, Bouwsma and Our Relationship to Philosophical Problems

O. K. Bouwsma once declaimed that “…Wittgenstein’s interest was not in any particular problem, but in the bothered individual, particularly the hot and bothered.” He was rhetorizing about PI.

I believe Bouwsma is on to something quite important here, even though he seems to me to miss a better way of putting his point. It is not that Wittgenstein is not interested in any particular philosophical problem in PI–he is, in fact, interested in many–but rather that he keeps steadily before himself the puzzled (“hot and bothered”) person (now his interlocutor, now his reader, now both, now both in different ways), the particular problem, and the relationship of the person to the problem. Wittgenstein’s specific focus, the spotlight of his attention, shifts across this structure in complicated, sometimes dizzying ways, but more often than not, he spotlights the relationship between the person and the problem. Wittgenstein over and over again tries to make that relationship the available to the person, often doing so (in part) by making his own relationship to the problem available to the person–i.e., by making himself exemplary (in one sense of the term). (H/T to j.) As I understand Wittgenstein, he believes that the person believes that the particular problem is just there, palpitating problematically in its isolation, and that his or her relationship to the problem has nothing whatever to do with its being problematic. But the person’s belief is confused. I do not have time now to go into detail, so let me try to explain briefly by means of two quotations, both from Remarks on Color:

In every serious philosophical question uncertainty extends to the very roots of the problem.
We must always be prepared to learn something new. (I, 15)

In philosophy we must always ask: “How must we look at this problem in order for it to become solvable?” (II, 11)

Each of these is a response to the relationship between the person and the problem. The first is a reminder that we are all-too-often guilty of a philosophical knowingness, of a carried-with-us conviction that we are certain at least of the roots of the problem, that we understand its logical aetiology. We are prepared to learn something new, but not at the root level: that would mean that we have misunderstood the problem completely, or fancied a problem where there is none. The second is a reminder that we tend to occupy one fixed position in front of a philosophical problem, as if there were a chair bolted to floor and as if we had to sit in that chair in order to see the problem for what it is. We will not unfix our position, bound from the chair, and take a look around, hunting specifically for an angle of vision on the problem that allows us to undo it, like an apparently complicated knot that simply falls out of the string when we pull on the right end. –We can comment on one thing that unites these remarks by using a term of Kenneth Burke’s, occupational psychosis. An occcupational psychosis is a kind of blindness created by the aquisition of certain skills, the shadow, as it were, of our occupational accomplishments. (By ‘psychosis’ Burke does not anything strictly psychiatric; instead, “it applies simply to a pronounced character [Burke’s emphasis] of the mind.”) We approach philosophical problems as philosophers, where that means that we approach the problems occupationally: we believe we know what the problems are and we believe we know how to see them–knowing these things is what makes us philosophers. We are not prepared to learn that we do not know what a philosophical problem is, that we are at the root confused. We are not prepared to abandon our familiar angle of vision on the problem. To abandon these would be to approach the problem non-occupationally, to approach the problem with empty hands. That is hard, really quite hard, to do. Our occupation is our preoccupation. How could philosophy become unskilled labor and still know itself as philosophy? (Forgive me for that.)

How often the conjuring trick that illudes us is one we play on ourselves, one that we play on ourselves when we pride ourselves on our skill at avoiding illusion.

The Second Law of Punctuation

Reading this morning, I found the following description of William Law’s punctuating.  It put me in mind of Wittgenstein punctuating PI, even if Wittgenstein’s practice is much more considered and discriminating than Law’s.

…Law defies all reason and custom in his use of stops.  He sprinkles them over his pages like a cook shaking out flour from a dredger and with far less discrimination.

Fearing Philosophy (Poem)

“Consider the world as it looks to the fear–it looks terrifying.”

You hear
such things
in philosophy
you know

& you have
to marvel,
to wonder

at a plight of mind that requires for its rectifying the calling upon such words,

at the being of a condition that involves such words in its being–

but now
I am
doing it

& I’ll stop

Immortal Openings, 4: Charles Olson, Call Me Ishmael

I take SPACE to be the central fact to man born in America, from Folsom cave to now.  I spell it large because it comes large here.  Large, and without mercy.

Terms of Engagement–A Question

I am currently writing a new paper and have been developing in it a ‘variant’ of a point of Cavell’s–his point about the importance of identifying and thinking through a philosopher’s terms of criticism in reckoning the significance of the philosopher’s work.  I want to say that there is a genus of which terms of criticism are a species, namely terms of engagement.  These include the terms of address (of reader, of interlocutor) used by the philosopher, the expositives, exercitives, commissives, behabitives and verdictives typically employed, etc.  Assuming this makes sense, I am curious:  what stands out to you about Wittgenstein’s terms of engagement in PI?

Musical Interlude

The Wallpaper: Iris

A new video by Benjamin Jameson Morey’s band. Give it a look; then, take a look at his other videos.

Here’s a little snippet I wrote about an earlier album:

I’ve been listening to Morey’s album, Songs in the Key of Being Scared to Death by the Idea of an Entire Life. It is remarkable. Morey writes lyrics out of a sensibility so tender and responsive that it seems debilitatingly fragile, but also so wry and ironic that it seems lordly, satirical. The lyrics hover between nearness and distance, between sensitive humility and gentle scorn. Morey’s voice is dual-tuned as well; it seems always ready to break–somehow and at the same time into tears and into laughter.

Morey manages the balancing act because his is an associated sensibility, an ability to feel reflectively, to think in the midst of feeling, without either diluting the feeling or scattering the thought. Instead, his lyrics ingather all that they touch, and he writes as if from a desire to reconnoiter his own experience, to make it all homely, to come to know his way about in it, in its highlands and lowlands.

He creates memorable, understated and meditative melodies. The songs will stick with you, not only as lyrics to be sung but as tunes to be hummed. Typically the lyrics and the melodies enjoy such mutuality that it is hard to imagine that either could have preceded the other.

A nice example of the strengths of the album is provided by its one cover, *This Little Light of Mine*. Morey complicates the tune, but still works recognizably within its structure. However, instead of sounding like a bit of Christian self-affirmation, a candle singing about its not being hidden beneath a bushel, it instead sounds like a candle singing against a strong damp breeze, hoping to hold out, if only for a while, if only it can provide someone some little light. The vocals are as weightless and fleeting as the light itself.

Go give Morey a listen.

On My Book

Here’s a kind comment on my book from Duncan Richter (Language Goes on Holiday).  It is from a few months ago:

By the way, I was reminded of PI 531 by reading Kelly Dean Jolley’s The Concept ‘Horse’ Paradox and Wittgensteinian Conceptual Investigations. I would recommend this book except for the fear that someone might ask me a question about it that I couldn’t answer. It is short but dense, and reminds me of some tea that a friend of mine brought from China. The tea comes in a kind of cake or puck, from which I would carve a wedge or lump to put in the pot. After the tea is made the leaves in the pot expand and come almost to life incredibly, looking a bit like seaweed. My sense is that Jolley’s book is one with which it would be good to be infused.

Chicago!

Just back from the (this-time-not-so-) Windy City.  I travelled up for the Central APA, along with some colleagues and about ten students.  It was a good trip:  I heard a terrific talk at UC by Matt Boyle (“Transparent Self-Knowledge”), got a chance to  spend time with old friends (Jim Conant and Michael Kremer), to see former students now at UC (Ben Pierce and Stephen Shortt), and to meet charming new folks–including Rachel Cohen (thanks to her for a useful conversation on Montaigne), and a graduate student from Eugene, Oregon, with whom I had a brief but upbuilding conversation (but whose name, may she pardon me!, has slipped my mind).  I also saw my teacher, Deborah Modrak, and got a chance to catch up with her.

And of course I spend time at Iwan Reis, the amazing pipe shop, at Powells Books, and the Seminary Co-op.  But now it is time to get back to work.

Luke (Poem)

Luke

For Ward Sykes Allen

In a rocker
On the porch of the Overseer’s House
Behind Stony Lonesome antebellum mansion
He overlooks a new century morning

Beside him
On a table matching his rocker
An open copy of the Authorized Version
His mind submissive to it and to the dawn

He has no abiding city
Living as he does on the farm
His earthly country
A place of horses, whole horses,
Not half-horses, abstracted into horsepower

They will come no more
These old men with beautiful manners
They will come no more

(“He’d stand up even if a dog came in the room.”)

He sits
In peace, knowing how
to go out and come in
Even in this, this so busy a century

Mindful of images
Of the concrete series of his own history
And his people’s—he knows where he comes from
And belongs where he is

He knows the sunlight in the treetops is deceptive,
As all of nature can be
But he will not let creation groan without
Engaging it in a dialogue of comfort;
And he knows more than he says

In a rocker
On the edge of eternity
The sky open above him
Waiting