Tine Wilde

How does a coloured bird end up on a TUGboat? This is the story of an artist who studied philosophy and combined her skills in a PhD at the University of Amsterdam (NL). In order to write her dissertation, she had to learn the LaTeX typesetting programme. Many years later, she still makes art and still writes down her thoughts in LaTeX, with the Memoir class and XeLaTeX as first choice. Always trying to stretch the limits of the programme to her convenience. This essay is not a technical article written by a developer conjuring up ingenious innovations to the LaTeX programme. By contrast, it discusses the relationship between LaTeX, art (photography) and the concept of 'measurability' from the perspective of a philosophising artist.

SOUL SPACE is a poetic photo book about the ways in which God is manifest as a hidden travel advisor. Challenging the existing religious communities, Soul Space announces the birth of the eMigrant - an electronic Deity that will alter our world in an unprecedented manner. Soul Space combines philosophy and photography in an inquiry into religious experience. The book covers the first part of a trilogy aiming to study and elaborate three different perspectives on the nature of God. Soul Space addresses the human perspective, questioning the ways in which God is manifest as a hidden travel advisor and how this forceful phenomenon can be captured photographically. With a focus on the quest for how to live, the ultimate goal is to show that God is a sign of our evolutionary potential. Isbn 978-90-804240-5-0

We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn.

Violence turns hope and expectation into guilt and shame. This publication discusses the outcome of a philosophical and artistic investigation into complex patterns of behaviour. Negative connotations and positive aspects of guilt and shame are connected convincingly to the artistic process which is used by the artist to produce new work. As a consequence, a different light is shed on the concepts of guilt and shame. The author shows in an intriguing way how adapting an artistic attitude can help us think in a more peaceful and independent manner. Over Schuld en Schaamte (On Guilt and Shame) thus offers a new surprising insight how violence can be transformed into hope and more rewarding practices.

In this paper I argue that the notion of aspect seeing is a substantial tool to shed light on the question whether rule-following is something necessary individual or social and on how this issue is connected to novelty. Bloor's (1997) insights will be used as representative of the social primacy of rule-following and Luntley (2003) will be taken up in order to examine an example of the individual stance. Weighing pros and cons and taking the notion of aspect seeing into account, these insights will lead us to the conclusion not only that the individual and the social are merely constructs, created by us for practical purposes, but also that we tend to overlook our most basic ties with the world, exactly because of these constructs and conventions. If we adopt an artistic meta-view and make use of the philosopher’s reflection, Wittgenstein's emphasis on the importance of ‘everyday life’, also in philosophy, takes on a new meaning.

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the ambiguity of reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam.

In this paper I first discuss the colour-octahedron and the position of this model as an idealized system with respect to the remarks on colour-concepts in Remarks on Colour (RC). The next part examines the notion of aspect seeing in the light of the colour-octahedron and RC. From there a connection is made with On Certainty (OC). By linking the remarks on colour, seeing aspects and certainty, it may become clear that the investigations of Wittgenstein concerning colour and certainty direct us towards a reflective dynamics and an anthropological interpretation of his ideas.

De onmacht van deskundigen om de crisis te bezweren komt voort uit een deficiënte benadering van de problemen. Volgens kunstenaar en filosofe Tine Wilde is een Artistieke Wending nodig om complexe vraagstukken zoals de crisis op te kunnen lossen. In dit artikel pleit zij voor het toepassen van de intuïtieve aanpak die filosofen en kunstenaars hanteren, 'vertraagd onbewust nadenken'. In deze houding ligt de macht vervat, waarover in principe ieder van ons kan beschikken. Dit is een indirecte macht, die langer nodig heeft om zich in een ongelofelijk complexe wereld te laten gelden, maar uiteindelijk veel ‘sterker’ en duurzamer is.

The point of Wittgenstein’s remarks on colour concerns, not so much colours as such, as well as our ability to see [that implies both seeing ánd thinking] and our capacity to imagine something. This can be seen from the fact that Wittgenstein relates the notion of ‘seeing aspects’ on the one hand to the colour octahedron in PB, and on the other hand to the colour puzzles as discussed in ROC. This connection between Wittgenstein’s remarks on colour, on seeing aspects and on certainty makes clear that these investigations of Wittgenstein direct us towards a reflective dynamics of his ideas.