This essay discusses Wittgenstein’s suggestion that we may speak of a distinction between a word’s primary and secondary senses. Instead of seeing the distinction merely as an example of a puzzling language use, many commentators have attempted to work out the distinction in terms of a supplement to a general theory of sense that they presume Wittgenstein developed in his later writings. I don’t think it is fair to ascribe such systematic aspirations to Wittgenstein.Indeed, Wittgenstein speaks explicitly of the distinction (...) only at two junctures in his work; this suggests that the distinction in itself was not of great import to Wittgenstein. In my view, it is essential to see how the example resonates with other ideas and problems in his writings, for example, his discussions of rule-following in part one of the Investigations. By my lights, this has not been fully recognized in the standard literature. In discussing the distinction, I will argue for the importance of paying attention to a broader context than what is normally considered. (shrink)

Originally published March 20, 2020. This version published December 30, 2020.

Originally published March 20, 2020. This version published December 30, 2020.

This paper discusses how Wittgenstein’s thinking informs recent conversations about art and aesthetic practice by examining his influence on the work of the noted modernist art critic, Michael Fried. Fried considers an excerpt from Wittgenstein’s Culture and Value, with a puzzling thought experiment, to help us see more clearly the Canadian artist Jeff Wall’s photographic vision and aesthetic. I consider Fried’s account of the photographic practice of Jeff Wall, especially his photograph Morning Cleaning, Mies van der Rohe Foundation (1999).