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Statements

Subject Item
n2:RIV%2F00216208%3A11210%2F12%3A10126100%21RIV13-GA0-11210___
rdf:type
skos:Concept n16:Vysledek
rdfs:seeAlso
http://www.degruyter.com/view/books/9783110296679/9783110296679.185/9783110296679.185.xml
dcterms:description
In his first monograph, Grundprobleme der Logik, Pirmin Stekeler offered a version of %22immediacy critique%22 according to which, to sum up the book's central thesis, logic does not describe or explain natural language but only constructs synoptic models to be compared with and projected onto it. The roots of this claim are deeply Wittgensteinian, Stekeler's %22models of language%22 being, in fact, nothing other than Wittgenstein's %22perspicuous representations%22 of linguistic practices where, by these practices or %22language games,%22 what is meant is something rule-governed and thus normatively charged but not necessarily discursive in a way in which Sellar's and Brandom's game of giving and asking for reasons is. In my paper, I want to draw on some points of Stekeler's and Wittgenstein's approach to language by extending their repertoire of perspicuous representations - coming mainly from purely logical or visually controlled spaces (see, e.g., Stekeler's reconstructions of Aristotle's picture semantics and Frege's truth-functional logic or Wittgenstein's ab-notation and color-octahedron) - in an acoustical direction. The more modest part of this endeavor considers acoustical space phenomenally, aiming, basically, at the simple comparison of the traditional Newton/Goethe/Wittgenstein circle of colors with the circle of fifths of the Western tradition of tonal music, thus indicating what the musical pendant to Wittgenstein's grammar of colors would look like. The more ambitious part, which will only be briefly sketched here, concerns the continuous transformation of the acoustical space into the musical one with a prospective goal to show that there is a much stronger connection between the %22languages of art%22 and %22the game of giving and asking for reasons%22 than mere family resemblances of using words such as %22expression,%22 %22meaning,%22 %22thought%22 or %22sentence%22 would suggest. In his first monograph, Grundprobleme der Logik, Pirmin Stekeler offered a version of %22immediacy critique%22 according to which, to sum up the book's central thesis, logic does not describe or explain natural language but only constructs synoptic models to be compared with and projected onto it. The roots of this claim are deeply Wittgensteinian, Stekeler's %22models of language%22 being, in fact, nothing other than Wittgenstein's %22perspicuous representations%22 of linguistic practices where, by these practices or %22language games,%22 what is meant is something rule-governed and thus normatively charged but not necessarily discursive in a way in which Sellar's and Brandom's game of giving and asking for reasons is. In my paper, I want to draw on some points of Stekeler's and Wittgenstein's approach to language by extending their repertoire of perspicuous representations - coming mainly from purely logical or visually controlled spaces (see, e.g., Stekeler's reconstructions of Aristotle's picture semantics and Frege's truth-functional logic or Wittgenstein's ab-notation and color-octahedron) - in an acoustical direction. The more modest part of this endeavor considers acoustical space phenomenally, aiming, basically, at the simple comparison of the traditional Newton/Goethe/Wittgenstein circle of colors with the circle of fifths of the Western tradition of tonal music, thus indicating what the musical pendant to Wittgenstein's grammar of colors would look like. The more ambitious part, which will only be briefly sketched here, concerns the continuous transformation of the acoustical space into the musical one with a prospective goal to show that there is a much stronger connection between the %22languages of art%22 and %22the game of giving and asking for reasons%22 than mere family resemblances of using words such as %22expression,%22 %22meaning,%22 %22thought%22 or %22sentence%22 would suggest.
dcterms:title
Models and Perspicuous Representations Models and Perspicuous Representations
skos:prefLabel
Models and Perspicuous Representations Models and Perspicuous Representations
skos:notation
RIV/00216208:11210/12:10126100!RIV13-GA0-11210___
n16:predkladatel
n18:orjk%3A11210
n4:aktivita
n9:P
n4:aktivity
P(GAP401/11/0371)
n4:dodaniDat
n6:2013
n4:domaciTvurceVysledku
n17:7499558
n4:druhVysledku
n11:O
n4:duvernostUdaju
n14:S
n4:entitaPredkladatele
n13:predkladatel
n4:idSjednocenehoVysledku
151260
n4:idVysledku
RIV/00216208:11210/12:10126100
n4:jazykVysledku
n15:eng
n4:klicovaSlova
grammar; Wittgenstein; music; perspicuous representations
n4:klicoveSlovo
n8:music n8:grammar n8:Wittgenstein n8:perspicuous%20representations
n4:kontrolniKodProRIV
[3442129B8B4F]
n4:obor
n7:AA
n4:pocetDomacichTvurcuVysledku
1
n4:pocetTvurcuVysledku
1
n4:projekt
n10:GAP401%2F11%2F0371
n4:rokUplatneniVysledku
n6:2012
n4:tvurceVysledku
Kolman, Vojtěch
n12:organizacniJednotka
11210