Joseph Agassi

Regrettably, Wittgenstein did not consider the possibility that his early effort was both significant and a failure. So he replaced its content with its approach: the concern of philosophy is (not with thought but) with language, questioning whether a sentence has truth-value before questioning whether it is true. To view Wittgenstein’s work as philosophy of life is to admit defeat. The paradox of analysis is satisfactorily answerable, providing scope to the techniques of Wittgenstein and of his followers. The most ambitious example of this is logical atomism. It failed. Mature Wittgenstein offered examples of techniques for analysing sentences; it is questionable.

This book is a first attempt to cover the whole area of aesthetics from the point of view of critical rationalism. It takes up and expands upon the more narrowly focused work of E. H. Gombrich, Sheldon Richmond, and Raphael Sassower and Louis Ciccotello. The authors integrate the arts into the scientific world view and acknowledge that there is an aesthetic aspect to anything whatsoever. They pay close attention to the social situatedness of the arts. Their aesthetics treats art as emerging from craft in the form of luxurious and playful challenge to the audience. In developing it they place emphasis on the number of questions and claims that can be settled by appeal to empirical facts; on the historical character of aesthetic judgements; and on the connection of aesthetic truth to true love and true friendship, i.e. fidelity and integrity, not to informative truth.