Throughout his philosophical career, Wittgenstein oscillated between on the one hand striving for and wanting to uphold some ideal of exactness, while on the other hand refusing to deny the presence and relevance of certain inexact, "amorphous" elements in human language and experience -- elements that did not fit into his striving for exactness. [4] He later stated that "Even a concerto Prokofiev has written for me I have not yet played because the inner logic of the work is not clear to me, and, of course I can't play it until it is. As a result, none of the publications from those years . As we shall see, this character itself is a salient theme in the volume. [7], (Siegfried Rapp was to premiere Prokofiev's 4th Piano Concerto in 1956, five years before Wittgenstein's death.). If that doesn't hook you then check your pulse, you may have died. According to such a view, any mathematical proposition – such as Goldbach’s Conjecture that every even number is the sum of two primes – is either objectively true or objectively false, even if we never in fact discover which, and even if in principlewe could never discover which it is. He studied with Malvine Brée and later with a much better known figure, the Polish virtuoso Theodor Leschetizky. McGinn on Wittgenstein on Nonsense What is it then about Moore’s saying ‘I know that this is a hand’ or Boncompagni looks at the same distinction, between language as calculus and a more vivid approach to it, tracking other changes in Wittgenstein's thought -- about use, intention and rule-following. They belong to our frame of reference (OC 83). As a performer, Wittgenstein's posthumous reputation is mixed. This conclusion leads to Pichler's own avowal: "Accordingly, this paper aims to bring to the fore not only Wittgenstein's intellectual struggle, but also his struggle of the will" (60). After the war, Wittgenstein embarked upon the greatest struggle of his life: to create with one hand the illusion of two hands playing the piano. Section 3 of Stern's Introduction touches upon the above-mentioned interpretative debates and offers interesting insights about the way these are related to readings of the Middle Wittgenstein. Through the Danish Ambassador, he wrote to his old teacher Josef Labor, who was blind, asking for a concerto for the left hand. For unlike the confidence and resoluteness characterizing both early and later stages of Wittgenstein's philosophy -- no matter how these are interpreted -- during the first half of the 1930s Wittgenstein oscillated between several, sometimes utterly opposite, methodological directions. But those works to which I still have the exclusive performance rights are to remain mine as long as I still perform in public; that's only right and fair. It is the utility of handles that Wittgenstein insists on here: "The functions of words are as diverse as the functions of these objects.” Benjamin Britten, Paul Hindemith, Alexandre Tansman, Erich Wolfgang Korngold, Sergei Prokofiev, Karl Weigl, Franz Schmidt, Sergei Bortkiewicz, and Richard Strauss all produced pieces for him. Wittgenstein is a comrade in Moore’s fight against philosophical scepticism – scepticism about the existence of the external world, other minds and so on – but there … On the other hand, a thoroughgoing cultural solipsism reveals the operation of deconstructive spacing and differance. There's no point in summarizing Stern's delicate readings of these two philosophers here, but it is important to note that these readings are led by Stern's attention to the differences in the philosophical personalities of Moore and Wittgenstein. 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