By Wittgenstein, Ludwig; Krkač, Kristijan; Wittgenstein, Ludwig

Ludwig Wittgenstein was once essentially the most influential philosophers of the twentieth century. this article discusses his philosophical technique in his later interval, occasionally often called morphology

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One can describe quite complex drawings, for instance Van Gogh’s drawing of a chair, without any reference to or use of geometrical terms, and in fact their use would be quite inappropriate in the description of a drawing (even in terms of basic art-theoretical analysis of such a work of art, except if a work of art flirts exactly with geometrical phenomena like in the case of Escher’s woodcuts, lithographs, and mezzotints). 11. Dunes, waves, or hills? 12. Moon—C / seven—four. To return to the issue of a line, some such combinations of lines can in fact be seen not as figures but as solids.

12. Moon—C / seven—four. To return to the issue of a line, some such combinations of lines can in fact be seen not as figures but as solids. 15). 15 drawings a and b differ substantially from drawings c, d, and e. The difference is that a and b represent geometrical shapes, that is, a is a hexagonal shape, while b consists of two rhombuses in two distinct planes (or at least it can be seen as such in the context of the whole illustration). On the other hand c represents a solid, to be exact a cube, while d could represent an open box, and e could represent a die.

Perhaps the difference can be made between dots and spots as visual phenomena and points as geometrical phenomena visually represented by dots or spots. e. they cannot be colourless, while points cannot have colour, although their representations must have it. Nevertheless, this difference does not seem to be sufficient for the claim that (3) is not aspect-seeing while (1) and (2) are. All of them seem to be cases of aspect seeing, perhaps of different levels of aspects due to the mentioned distinctions.

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