Summary
How we intend a word might be significant to its meaning, but how we experience the word is not. This is not to say that there are not characteristic experiences associated with certain words, but these experiences do not fix the meanings of these words. We can often speak without any notable experience. Meaning and intention lack 'experience-content': though we may have certain experiences while meaning or intending something, these experiences are not themselves the meaning or intending. The experiences accord with how we choose and value words, but how we use them to mean something is not determined by these accompanying experiences. Choosing words is not a mental experience. If 'the word is on the tip of my tongue' were never followed by finding the w ord, we would not think to say this. The characteristic behavior that surrounds such expressions, and not a mental experience, give them their sense.
We do not 'know' our inner experiences like pain or speaking to ourselves any more than we believe, suspect, or do not know them. 'Knowledge' is not the correct term here because the general criteria for talking about knowledge are missing. This point is illustrated by comparing the assertions 'a goose has no teeth' and 'a rose has no teeth.' We can verify that a goose has no teeth by looking in its mouth, but how do we determine whether a rose has no teeth? One place is as good to look as another, so we could say that 'a rose has teeth in the mouth of a beast': the cow's teeth chew the grass that passes through its digestive tract and comes out as dung that feeds the rose. We are misusing language, not discovering a special kind of first-person kno wledge, when we talk about 'knowing' our inner life.
The Rose Has Teeth in the Mouth of a Beast, however, loosely holds together very different tracks that fuse art, history, and politics as they chop and manipulate sounds that include a cow's reproductive tract and styles of music ranging from surf to power electronics. A Rose Has Teeth in The Mouth of The Beast is an enigmatic, imaginatively catchy, and, therefore, totally absurd, or let’s say, non-sense quotation from the Part II of Wittgenstein’s «Philosophical Investigations».
When I confess what I was thinking, my truthfulness is not checked against inner criteria: truthfulness is not determined by whether or not I am correctly describing an inner process. The skeptical conclusion that other people's feelings are hidden from u s is usually irrelevant. We can still reach conclusions about people's inner states that are not necessarily incomplete: when someone is writhing in pain, I do not reflect that this person's inner feelings are hidden. We can know, even be certain, what so meone else is feeling, and our not feeling it ourselves is no detriment to this certainty.
We do not, as a rule, come to blows over the result of an equation, because we can agree on methods of determining these results. The difference between mathematical certainty and certainty regarding other people's feelings is not a matter of degree, but a matter of different language-games: there are not established and sure-fire ways I can make other people share my certainty regarding someone's feelings. And regarding other people's feelings, there are people who are better and worse at judging, a nd such judgment can be taught; the difference is that there are not fixed and clearly defined methods.
The final three sections are brief, and deal with the nature of our concepts as determined by our forms of life, with remembering and its lack of experiential content, and with psychology's conceptual confusions inhibiting the possibility of any scien tific progress.
Analysis
Skepticism about other minds is made up of the many doubts we can raise about other people's inner experience. There is no outward difference between someone who is unhappy, and a good actor who is simply pretending. We can even raise the question of whet her other people are in fact automata. A masterfully programmed robot could conceivably simulate all our outward behavior, but without any kind of inner experience.
definition - the rose has teeth in the mouth of a beast
definition of Wikipedia
Wikipedia
The Rose Has Teeth in the Mouth of a Beast | ||||
---|---|---|---|---|
Studio album by Matmos | ||||
Released | May 9 2006 | |||
Genre | Electronic music | |||
Length | 61:28 (European version) | |||
Label | Matador Records | |||
Matmos chronology | ||||
|
The Rose Has Teeth in the Mouth of a Beast is the sixth full-length album by Matmos. The concept of the album is that each song is dedicated to a person who has influenced the duo, which is reflected in the songs themselves; 'Rag for William S. Burroughs' features the clatter of a type writer and a gunshot, representing the William Tell incident, and 'Tract for Valerie Solanas' contains excerpts from the 'SCUM Manifesto'. As with earlier releases, the duo make use of field recordings in the music, recordings that range from ordinary things to more absurd sounds, such as a recording of a bovineuterus.[1]
Track listing
- 'Roses and Teeth for Ludwig Wittgenstein'
- 'Steam and Sequins for Larry Levan'
- 'Tract for Valerie Solanas'
- 'Public Sex for Boyd McDonald'
- 'Semen Song for James Bidgood'
- 'Snails and Lasers for Patricia Highsmith'
- 'Germs Burn for Darby Crash'
- 'Solo Buttons for Joe Meek'
- 'Rag for William S. Burroughs'
- 'Banquet for King Ludwig II of Bavaria'
- 'Kendo for Yukio Mishima' (Japan-only track)
Track #1 Contains a single line recited by Björk 'The rose has teeth in the mouth of a beast.' 1:29 Track #5 Contains contains vocals by Antony Hegarty.
Reviews
- Allmusiclink
- The AV Club A link
- Now Magazinelink
- The Observerlink
- PopMatterslink
- Pitchfork Media (8.0/10) link
- Drowned In Sound (8/10) link
- Prefix Magazine link
- Slant Magazinelink
- Stylus Magazine B+ link
References
- ^'Matmos at Matador Records'. http://www.matadorrecords.com/matmos/.
Retrieved from 'http://en.wikipedia.org/w/index.php?title=The_Rose_Has_Teeth_in_the_Mouth_of_a_Beast&oldid=508404093'
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)