This essay offers a comparison between Wittgenstein’ philosophy and Paolozzi’s collages by considering both as gestures and processes belonging to the family of the aesthetic works. The resemblances are identifiable in two aspects: producing a new way of seeing; showing the link between the new way of seeing and the background. On the one hand, Wittgenstein conceives philosophy as the aesthetic understanding of meaning, that is as the capacity of showing new aspects of meaning by means of the übersichtliche Darstellung and by making them emerge contrastively from occult nonsense. On the other, Paolozzi conceives the collage as a creative process and at the same time as a destructive act realized by means of techniques of cut-up and repositi...
Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were ...
Wittgenstein’s remarks on “seeing-as” have influenced several scholars working on depiction. They ha...
This chapter addresses the centrality of environmental installations in Paolozzi’s late production a...
This essay offers a comparison between Wittgenstein’ philosophy and Paolozzi’s collages by consideri...
This article examines work by the artist Eduardo Paolozzi related to the philosopher Ludwig Wittgens...
Conceived as a collection of essays, this edited volume exceptionally brings together philosophers a...
This chapter argues that Wittgenstein wasn’t a mere pretext for Paolozzi and that it is impossible t...
In this chapter, I argue that the strong fascination Wittgenstein had for artists cannot be explaine...
Even though Ludwig Wittgenstein, as far as we know, did not (explicitly) maintain some particular po...
This paper is an attempt to clarify some misconceptions of Wittgenstein concerning his views on defi...
This article first surveys the established views on Wittgenstein's relation to analytic philosophy. ...
This Element argues that aesthetics, broadly conceived, plays a significant role in Wittgenstein’s p...
In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be ...
Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were in...
This article reviews the various ways in which the later writings of Ludwig Wittgenstein have been e...
Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were ...
Wittgenstein’s remarks on “seeing-as” have influenced several scholars working on depiction. They ha...
This chapter addresses the centrality of environmental installations in Paolozzi’s late production a...
This essay offers a comparison between Wittgenstein’ philosophy and Paolozzi’s collages by consideri...
This article examines work by the artist Eduardo Paolozzi related to the philosopher Ludwig Wittgens...
Conceived as a collection of essays, this edited volume exceptionally brings together philosophers a...
This chapter argues that Wittgenstein wasn’t a mere pretext for Paolozzi and that it is impossible t...
In this chapter, I argue that the strong fascination Wittgenstein had for artists cannot be explaine...
Even though Ludwig Wittgenstein, as far as we know, did not (explicitly) maintain some particular po...
This paper is an attempt to clarify some misconceptions of Wittgenstein concerning his views on defi...
This article first surveys the established views on Wittgenstein's relation to analytic philosophy. ...
This Element argues that aesthetics, broadly conceived, plays a significant role in Wittgenstein’s p...
In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be ...
Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were in...
This article reviews the various ways in which the later writings of Ludwig Wittgenstein have been e...
Wittgenstein and Heidegger’s objections against the possibility of an aesthetic science were ...
Wittgenstein’s remarks on “seeing-as” have influenced several scholars working on depiction. They ha...
This chapter addresses the centrality of environmental installations in Paolozzi’s late production a...