Andreas Vrahimis

Maria Rosa Antognazza's work has issued a historical challenge to the thesis that the analysis of knowledge (as justified true belief) attacked by epistemologists from Gettier onwards was indeed the standard view traditionally upheld from Plato onwards. This challenge led to an ongoing reappraisal of the historical significance of intuitive knowledge, in which the knower is intimately connected to what is known. Such traditional accounts of intuition, and their accompanying claims to epistemological primacy, constituted the precise target of Moritz Schlick's critique. Schlick engages with this topic throughout his oeuvre, from some of his early epistemological writings, to his anti-metaphysical stance as a leading Logical Empiricist. Schlick crucially distinguishes knowledge from mere acquaintance, denying that the latter has epistemic status. He therefore argues that the very notion of ‘intuitive knowledge’ is a contradictio in adjecto.

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about aesthetics, and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics.

During the 1930s, while both movements were fleeing from persecution by the Nazis, the Vienna Circle and the Frankfurt School planned to collaborate. The plan failed, and in its stead Horkheimer published a critique of the Vienna Circle in “The Latest Attack on Metaphysics” (written in collaboration with Adorno, though he is not credited as an author). This paper will analyse Horkheimer’s (and Adorno’s) article, and the ensuing dialogue with Neurath. The Frankfurt School’s critical stance towards the Vienna Circle can be traced back to Adorno’s earlier objections to the ‘positivist’ myth of the given. In response to Carnap’s attack on Heidegger, Horkheimer (and Adorno) criticized both metaphysics and its ‘scientistic’ overcoming. Their critique employs a number of overgeneralisations about ‘logical positivism’. Neurath’s unpublished reply proposes corrections to the Frankfurt School’s portrayal of ‘positivism’, pointing towards a partly conciliatory direction within the framework of Unified Science. The attempted collaboration between the Vienna Circle and the Frankfurt School ended when Horkheimer refused to publish Neurath's reply to his article in the Zeitschrift für Sozialforschung. Horkheimer subsequently made anti-positivism a central concern for critical theory, setting the tone of subsequent polemics in the Positivismusstreit of the 1960s.