On Violence (Harvest Book) by Hannah Arendt

By Hannah Arendt

An research of the character, motives, and importance of violence within the moment 1/2 the 20th century. Arendt additionally reexamines the connection among battle, politics, violence, and gear. “Incisive, deeply probing, written with readability and beauty, it offers an incredible framework for realizing the turbulence of our times”(Nation). Index.

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Wittgenstein goes on to consider how we come to think of perception as a relation between a judging subject, their experience and the world: Wittgenstein on perception: an overview 25 I look into the eye-piece of an instrument and draw or paint a picture of what I see. Whoever looks at it can say: “So that’s how it looks” – but also “So that’s how it looks to you”. I might call the picture a description of what I was looking at, but also a description of my visual impression. (RPP I 1083) But we should not take for granted that this fact reveals that perception is an inherently mediate relation between a subject’s impressions and the world; it may be that the fact that there are two ways of describing the perceptual experience creates the possibility of treating the relationship between subject and world as mediate.

Until one is familiar with ‘the natural history of human beings’, it says nothing to say that human beings can see. And, once one is familiar with it, to be told that humans can see adds nothing to what one already knows (319). These remarks are connected to Wittgenstein’s observations about the limits of physiological explanation of what it is to see. Here the important question is what the logical criterion is for failing to perceive a certain feature of the environment (for example, for failing to see the joy in a smiling face).

One would like to say that the will affects images directly. For if I voluntarily change my visual impression, then things obey my will. (RPP II 91) 22 Michael Campbell and Michael O’Sullivan As Wittgenstein notes, we are inclined to say that our control over images is direct; over sensations, only indirect. But, as these qualifications show, our understanding of the distinction between active and passive states of the subject presupposes a prior grasp of the difference between seeing and imagining.

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