"The book advances the radical proposition that the field in which architecture and philosophy operate includes linguistic and spatial practices. It develops innovative forms of interdisciplinary analyses to demonstrate that the philosophical positions put forth by Wittgenstein's two main works are literally unthinkable outside of their respective conceptions of space: the view from above in the early work and the view from within constructed by the later work."--BOOK JACKET.

Related to author's Architecture of Ludwig Wittgenstein, 1973.

'The story in this book is so gripping and fascinating that it is remarkable that it has never been told in this way before' Simon Heffer, Literary Review 'Masterly ... His writing is brisk, confident and colourful ... a pleasure to read' Sunday Telegraph The true story of a one-handed pianist and the fall of his aristocratic family The Wittgenstein family was one of the richest, most talented and most eccentric in European history. The domineering paternal influence of Karl Wittgenstein left his eight children fraught by inner antagonisms and nervous tension. Three of his sons committed suicide; Paul, the fourth, became a world-famous concert pianist (using only his left hand), while Ludwig, the youngest, is now regarded as one of the greatest philosophers of the twentieth century. In this dramatic historical and psychological epic, Alexander Waugh traces the triumphs and vicissitudes of a family held together by a fanatical love of music yet torn apart by money, madness, conflicts of loyalty and the cataclysmic upheaval of two world wars.

Wittgenstein's House reads Wittgenstein's his two main philosophical texts, Tractatus Logico-Philosophicus and Philosophical Investigations, in relation to an experience that intervened between them: his design and construction of the Stonborough-Wittgenstein house in Vienna. Arguing that the practice of architecture occupies not just a historical position between Wittgenstein's early and late philosophy, but a conceptual position as well, the book demonstrates that Wittgenstein's practice of architecture constitutes a fundamental component in the development of his philosophy of language from its early to late phases. The book advances the radical proposition that the field in which architecture and philosophy operate includes linguistic and spatial practices. It develops innovative forms of interdisciplinary analyses to demonstrate that the philosophical positions put forth by Wittgenstein's two main works are literally unthinkable outside of their respective conceptions of space: the view from above in the early work and the view from within constructed by the late work. To examine the manner in which Wittgenstein's practice of architecture insinuated itself into his philosophy, the author interweaves in-depth analyses of the spatial constructs underpinning the early and late philosophies with conceptual, formal and operative discussions of the design of the Stonborough-Wittgenstein house. Together these discussions reveal how Wittgenstein's practice of architecture engaged philosophical concepts, through which it influenced Wittgenstein's philosophy of language. At the heart of this approach is the finding that the philosophical concepts at the core of Wittgenstein's philosophy are indeed spatial ones, including his concerns with the limits of language, the boundary between showing and saying, the intricate textual numbering systems he devises, the relationship between the interiority of the subject and the publicness of language, and the formative principle of family resemblance.

"Wittgenstein in Vienna" documents Wittgenstein's life in the city: the places he, his family and those with whom he was in contact, lived, worked, entertained and socialized. The book will be a source of enrichment to the cultural tourist in Vienna. Its authors are authorities on Wittgenstein's philosophy especially in relation to Viennese culture and popular culture, in particular the world of the coffee house and cabaret.

A readable and concise account, Ludwig Wittgenstein is an informative, accessible introduction to the one of the greatest thinkers of our age.

Ludwig Wittgenstein and Martin Heidegger are arguably the two most influential philosophers of the twentieth century. Their work not only reshaped the philosophical landscape, but also left its mark on other disciplines, including political science, theology, anthropology, ecology, mathematics, cultural studies, literary theory, and architecture. Both sought to challenge the assumptions governing the traditions they inherited, to question the very terms in which philosophy’s problems had been posed, and to open up new avenues of thought for thinkers of all stripes. And despite considerable differences in style and in the traditions they inherited, the similarities between Wittgenstein and Heidegger are striking. Comparative work of these thinkers has only increased in recent decades, but no collection has yet explored the various ways in which Wittgenstein and Heidegger can be drawn into dialogue. As such, these essays stage genuine dialogues, with aspects of Wittgenstein’s elucidations answering or problematizing aspects of Heidegger’s, and vice versa. The result is a broad-ranging collection of essays that provides a series of openings and provocations that will serve as a reference point for future work that draws on the writings of these two philosophers.

In 2006, Schoenberg, Wittgenstein, and the Vienna Circle received a Lewis Lockwood Award (Finalist) from the American Musicological Society, for outstanding new books on musicological topics. This study examines relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein (the Tractatus Logico-Philosophicus, in particular), and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, theoretical conventionalism, word-to-world correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist/relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that was very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and pivotal developments in early twentieth century intellectual history