january.... the race is on

How I felt about "THE" election (two years nearly gone). And How I "felt" about the war " and HOW" i felt. These were being laughter; being childish; being intelligent; being curious. I was a long way from da Vinci; my notes had a tepid air to them, and yet we were all connecting.... this to that; skype to Protocol, paste post. Over? etc.... The year's begun well. I lie awake with a cold coffee (can't be bothered to get out of bed and heat it up). And Her, Mrs Iddleswicke, fromaging cheese into the pot blender for brekkie. The News had the Queen in Cornwall, and Gordie in a sandwich shop outside of Ilfracombe. Were you in San Francisco during that quake? She asks more to get me talking. Ah.... the houses I painted in San Francisco, i reply: you know I worked for Jim; his Earthquake Emergency company.... i wished all houses could be painted a la sa fran. It was a cold one bed rental. Cornwall was tepid, quiet and moody. We'd taken a ramble across Exmoor the week before. Did you see Wales? She laughed. There are whales around here somewhere; somewhere off the coast of Scotland. Good. Do rub my back. Please. Thankyou. Settled into a B£ @ x Pence per minute for a pot of tea and a small bin liner before heading onto Bodmin...

www.telegraph.co.uk/culture/books/8134622/Evolving-English-at-the-British-Library.html?image=5 Ispired this between a whelks ass and a sniff of tobago this morning as i was trying to navigate something to say about Cosmopolitan's latest survey : Women WOULD RATHER go wthout knickers and keep the make up (if push came to shove, which i suppose it must if this survey has any meaningful relationship to a woman's real life (which I suppose it must ave). So I ad her here (nackers and all) wiv my own brass tacks shying in the wind of breeze a thought... pigin jumped in and said, yars, Clockwork Orange, yeah? He did write it. Joyce too. Was wiv dat? Anyhoo (jus sayin) where did that come from? that the oil legacy of it ere this morning is a bright stump of wood in a marshland somewhere south of Florida Keys. I digress. The old Cornish breeze was long gawn nah. I was upon the Ayr Perth Adelaide ship, westbound for Tobago, aforementioned, crossing the PAcific when it appened. Wot wiv all did crockin going on, I felt (anyway) sure as sure, when the toime was right I would, and I would connect x and y and see what happened. First I had to consult the old master of this, Joyce, before continuing fiurther.... a field! Woa! Brake. Foot. Jumpstart car. Mate. What the F***. Speed limits here are unregistered; we were Grampian mountains or bust, smoothing through it with JB whisky and cream. Plus a touch of the old Cuba Libre (but like the Speaker of the House) were we impaired?

CONCEPTS IR WORDS

what counts as an object.....    "system of representation which we bring to bear upon the object" as Searle said with Mr McGoo and then there's Davidson on Meaning, Truth Conditions and the sentences of the language... and then there's the Intentions of the Speech (act) Users "title of Searle's book" always generated by Human Beings, always for a P{urpose} "what is he doing when he utters something" (2011 context: what sort of behaviour is this?) What are my rule goveregreened behaviours?

Justin Beck 0401 0810595

1

Question 2: ‘Performative Utterances’ and an Analogy to Moore’s Paradox

The purpose of J.L Austin’s paper ‘Performative Utterances’ (1956) is to draw a distinction between two
kinds of utterances. An historical understanding of language held that it was the business of every
meaningful utterance to be either true or false. Against this historical backdrop, Austin notices a seemingly
clear-cut class of utterances whose business is not to make any truth claim. Thus, he wanted to distinguish
between different uses of language. However, in the same paper, under careful analysis, Austin’s
distinction vanishes. In this essay, I will give a thorough exposition of Austin’s argument and conclusion,
focusing specifically on the significance of an analogy Austin makes to Moore’s paradox. I will then
consider a number of attempts to revive Austin’s distinction and conclude whether ‘Performative
Utterances’ does or does not uncover distinct uses of language.

Specifically, Austin makes the distinction between constative and performative utterances. Constatives are
a class of ‘fact-stating’ utterances (Horn p159), that is utterances that ‘constate’ something true or false
(Graham p54)1. This includes reports, statements, descriptions, assertions, predictions etc., a simple
example is ‘that yacht is white and blue’. Performatives however, although grammatically indiscernible
from constatives have two distinctive properties: they do not constate something true or false, and a person
making a performative utterance isdoing something rather thansaying something (Austin p235). Austin
gives four straightforward examples of performatives (Austin p235):

At a marriage ceremony someone says ‘I do’ (take this women to be my lawfully wedded wife).
I tread on your toe and say ‘I apologise’.
I have a bottle of champagne in my hand and say ‘I name this ship theQueen Elizabeth’.
I say ‘I bet you sixpence it will rain tomorrow’.

Notice here that it is nonsense, as Austin puts it, to regard these utterances as truth claims. We do not say
anything true or false when we say ‘I apologise’. Nor are these utterances reports of what it is we are doing;
we do not report that we are making a bet or christening the ship. Rather by making the utterance, the

TO CLARIFY: TO MYSTIFY

says Iris Murdoch

Literature as Mask

as story

as role

as role

"there arn't many jokes in philosophy"

know believe suppose guess

a fried bread and bried history about my personal mind mapping experience

mind mapping is caught on....http://www.youtube.com/watch?v=qGzmWgk4HPM&NR=1 we are all potentially brilliant...."it;s more than just a diary"....anyhoo, where was I? @002 (the year AD) I had just completed a speed-reading course (from Tony Buzan// the other TB); and was thrilled. In six weeks I was displaying new notes, carefully reading using absolute recklessness as my method. This is was. still is. important. In speed reading, we are told, USE A HIGLIGHTER always! It was a revelation (not the highlighter) but the speed one approached the text on the table. Not one rule from my educational past had prepared me for the shocking transition.... I'd not just halved the time it took me to "extract" the salient-for-me feature" of the book. Oh no. Au contraire, it was the fact I could now have eight books on the go. I had Steiner's theory of colour on the go /www.colorsystem.com/projekte/engl/70ante.htm; Kathleen Raine's marvelous book on Blake to hand from a Camden Lending library www.scribd.com/doc/18755339/William-Blake-by-Kathleen-Raine, the massive tome that I'd heard about from Henry and June en.wikipedia.org/wiki/The_Decline_of_the_West by Spengler, each of these three in the past would have kept me busy for about a year! were ripped through. Every word that "sprang" to my eye, jotted down. No reading for the sense of it. Just mind map after mind map (on A3 in those days).... and five other books.....