Monthly Archives: December 2025

Arts, Books, Philosophy

Ludwig Wittgenstein: Philosophy in the Age of Airplanes

LITERARY REVIEW

Intro: This is a biography by Anthony Gottlieb. It offers a fresh perspective on one of the 20th century’s most complex thinkers by framing his philosophical evolution against the backdrop of the industrial and technological revolution  

IN October 1911, a 22-year-old postgraduate student in aeronautical engineering at the University of Manchester travelled by train to Cambridge. Intrigued by mathematical logic, he wanted to brainstorm and converse with Bertrand Russell, a newly arrived lecturer at Trinity College. A few months later, Russell amazed the young man’s eldest sister by telling her: “We expect the next big step in philosophy to be taken by your brother.”

And so, it proved to be. Ten years later, Ludwig Wittgenstein published his Tractatus Logico-Philosophicus, a book that he strongly believed had solved all the fundamental problems of philosophy. It hadn’t, of course: philosophical problems are by definition intractably insoluble. Yet even though Wittgenstein would come to recant much of the Tractatus, it remains one of the 20th century’s great books.

The Tractatus is essentially a treatise on the limits of language, which, Wittgenstein argues, is useful only for the stating of facts. It follows that a great deal of what we say is literally meaningless. When we talk – as we so often do, about issues of morality, matters of religion, or questions of aesthetics, we use language within these areas that it’s simply not equipped to deal with. We are, according to Wittgenstein, talking nonsense. And that “we” includes philosophers – for they deal not in empirical statements (as scientists do), nor in tautologies (as mathematicians do), but merely in pseudo-problems engendered by the ineluctable and slippery confusions of language.

It should be said that Wittgenstein was none too happy with this – unlike the logical positivists, a grouping of naïve science-focused luvvies, who believed and accepted that the Tractatus was the final word on everything. Wittgenstein didn’t think that the only things that matter are what we can talk about, rather than what we can’t. For all its minatory sound, the Tractatus’s closing line – “Whereof one cannot speak, thereof one must be silent” – isn’t a cry of triumph but a howl of anguish. Philosophy ends not with a bang but a whimper.

Fittingly enough, the Tractatus was translated into English in 1922, the year of The Waste Land and Ulysses, and Ezra Pound’s declaration that this was “Year One of a new era”. For Wittgenstein’s book was no less modernist than Eliot’s or Joyce’s, not only in thought but in form too. A series of brief, numbered, and crystalline statements, it has an incantatory attraction that makes it one of those rare works of philosophy that you can read for pleasure.

And then Wittgenstein ripped it all up, proposing instead a radically new set of arguments fundamentally opposed to everything set forth in the Tractatus. Alas, he died in 1951, a couple of years before the publication of his second masterpiece, the Philosophical Investigations. In it, he grounded our problems with language not in logic, but in our own strictures on how language is used in practice.

Wittgenstein did more than just think. As Anthony Gottlieb shows in his elegantly brief biography, Ludwig Wittgenstein: Philosophy in the Age of Airplanes, quite a lot went on between the publication of those two great books.   

Wittgenstein was born in Vienna in 1889 to one of Europe’s wealthiest families (six days after Adolf Hitler; for a while, the two boys attended the same school). He was a peripatetic soul. Just as he gave up aeronautics to become a logician, so he gave up logic to train as an elementary-school teacher, gave up teaching to become a gardener at a monastery, and later gave that up to spend two years as a soi-disant architect designing a spookily perfect house, as austere in its design as the Tractatus, for his youngest sister, Gretl.

His love life was even less settled. One of history’s most tormented homosexuals, Wittgenstein was a tormentor in his turn. He was in the habit of proposing to women while being adamant that their marriage would be chaste. Nor were things easier for the invariably young men he loved, not least because he never told them he loved them. Wittgenstein said that David Pinsent, the dedicatee of the Tractatus, “took half my life away” when he died in a flying experiment a few months before the end of the Great War. Yet “there is no sign”, says Gottlieb, “that Pinsent was aware of such feelings… or that he felt them himself”.

And while the “boyish, kind, sensitive” Francis Skinner was assured of Wittgenstein’s love, Wittgenstein’s diaries reveal that he himself was none too certain: “Lay with him two or three times. Always at first with the feeling that it was nothing bad, then with shame.”

For all the flowing felicities of Gottlieb’s style, none of this is easy to read. Which is only right. Wittgenstein occupies such a prominent spot on the philosophical pantheon that it is good to be reminded that he wasn’t just the saintly sage as embodied in Ray Monk’s magnificent The Duty of Genius. He was human, all too human. Unimpeachably brilliant, he was also insufferably arrogant. As his no-less-brilliant friend Frank Ramsey groaned: “If you doubt the truth of what he says, he always thinks you can’t have understood it.” And for a man who argued that ethics can’t be meaningfully discussed, he spent a huge amount of time haranguing people moralistically. Norman Malcolm complained of “his tendency to be censorious”. Georg von Wright, one of Wittgenstein’s literary executors, said that talking with him “was terrible… like living through the day of judgment”.

To be sure, the person Wittgenstein was always hardest on was himself. Thoughts of suicide were rarely from his mind. More than one of his friends was made to listen while he read out a list of his lies and sins. And years after beating his pupils at a primary school in Austria, he returned to apologise to them individually. Before departing this world, he exclaimed: “Tell them I’ve had a wonderful life.” Maybe so, but one is bound to close this wonderful biography thinking that the linguistic philosopher JL Austin summed him up best: “Poor old Witters.”

– Ludwig Wittgenstein: Philosophy in the Age of Airplanes by Anthony Gottlieb is published by Yale University Press, 232pp

Standard
Environment, Government, Politics, Science

Labour is urged to crack down on farmers spreading sludge

ENVIRONMENT

MINISTERS are coming under increasing pressure to stop farmers spreading byproducts of human sewage on fields over fears of “forever chemicals” getting into the food system.

Campaigners have urged Labour to clamp down on the use of sludge to fertilise agricultural land.

Also known as biosolids, sludge is produced by dewatering treated sewage. It is nutrient-rich and is spread across agricultural land, amounting to 3.6 million tonnes annually, says the Chartered Institute of Water and Environmental Management.

While the practice is regulated, academics and campaigners argue that rules governing the use of sludge have not kept pace with the science. Regulations have been unchanged since 1989.

Sludge can contain toxic waste from homes, including pharmaceuticals, flame retardants, and microplastics. Each gram of biosolid can hold up to 24 microplastic particles, representing 1pc of its weight, according to research from Cardiff University.

It is widely accepted in academic circles that sludge spreading is a major problem. Water companies profit from processing industrial waste containing “forever chemicals” that end up on farmland.

Forever chemicals, officially known as PFAS, do not break down in the human body or on the land. They are found in everything from carpet cleaners to corrosion-protecting products and have been widely used since the 1950s. They can cause cancer, harm the immune system, and damage the liver.

It is indicative, then, that water companies must take responsibility. And, if they will not act, the Government must legislate and ensure the upcoming White Paper tackles agricultural pollution. This is urgent because our soil and waterways are being contaminated with toxic, persistent chemicals, threatening food and water security.

The Government’s long-awaited White Paper on water industry reform is expected to be published in January. Despite repeated calls for a crackdown on sludge, the report cannot be allowed to ignore the issue.

It comes despite the Cunliffe Review calling for action. The report, to which the White Paper is a response, says: “There should be tighter regulation of sludge spreading on farmland, recognising that sludge may contain PFAS, pharmaceuticals and toxic metals, which have public health impacts.”

Alistair Boxall, professor of environmental science at the University of York, said he is increasingly concerned about long-term, low-level exposure to contaminants in sludge. He said: “We’re potentially exposed to these things our whole lifetime. The UK is not protecting its soils and its crops from this stuff.”

Research from the University of Plymouth has demonstrated that “nanoplastics” – particles so small they can penetrate cell membranes – are absorbed into the edible sections of crops. The study found that a single radish can eventually accumulate millions of these nanoplastics in its roots before they spread through the plant.

Sludge is an attractive option for farmers. While synthetic fertiliser costs £60 per tonne, sludge can be purchased for £1.50 per tonne. Water companies rely on farmers to take the substance, which is an unavoidable byproduct of wastewater management.

There is always the matter of liability in any looming scandal, and this needs addressed. Public health is a serious issue. Neither the water companies who supply the product, or farmers who use it, be exonerated from blame.

Standard
Arts, Books, Culture, Literature, Society, Theatre

Wokeism has lost its grip on the arts

THE ARTS

Intro: This year has been one in which the tenets of woke, for so long held unquestionably in the performing arts and literary professions, started to be questioned.

From the literary world to the theatre, we have seen a pushback against identity politics

FOR many arts critics’ 2025 was the year that wokeism perished. And not before time.

Everyone, of course, is entitled to hold their own opinions, with some still representing a section of the liberal bien-pensant opinion in the arts that believes wokery to be a commendable necessity rather than an outdated and invidious ideology. Julian Clary, for instance, when interviewed recently, made his customary and screamingly inappropriate remarks that easily surpassed any definition of satire.

Nonetheless, this year has been one in which the tenets of woke, for so long held unquestionably in the performing arts and literary professions, started to be questioned. Unsurprisingly, it was swiftly discovered that the emperor had no clothes.

The publishing industry has been the most striking example of the upturned order. Around 2020, there was a clear edict that the profession had been taken over by white middle-class gatekeepers, and that this had to change in the interests of social justice.

If you stood against this – on the grounds that a bad book was a bad book, no matter what the skin colour, sexual orientation, or social background of its author – you were accused of being “elitist” and your career was promptly curtailed.

Scapegoats were routinely found, most egregiously the teacher and poet Kate Clanchy, who was the victim of little less than a witch hunt. Her apparent crime was that of “cultural appropriation”. Clanchy was driven to near-suicidal despair, and her publisher Pan Macmillan took ostentatious delight and glee in washing their hands of her.

Five years later, Clanchy has received a long overdue apology from Pan Macmillan for the reputational damage she suffered; the publisher stated that the hounding represented “a regrettable series of events in Pan Macmillan’s past”. A sympathetic and thorough BBC Radio 4 documentary, Anatomy of a Cancellation, examined the controversy afresh, interviewing those involved from all sides. Few would doubt that Clanchy emerged vindicated.

There have been other indications, too, that the wind is shifting. The Booker Prize for 2025 went to David Szalay’s Flesh, an unsparing account of the sexual and social coming-of-age of a taciturn young Hungarian man.

Szalay, the Stowe and Oxford-educated novelist of some standing, is a heterosexual white man – a category of people who are no longer supposed either to write or read novels – who has written a good book, rather than some piece of woke agitprop. There is every chance that it will endure far beyond flashier, less accomplished fiction.

So, too, should Thomas Peermohamed Lambert’s stunning debut Shibboleth, one of the funniest and wisest satirical narratives available on the hopeless state of contemporary academia.

Away from publishing, the National Theatre remains in thrall to modishness under its artistic director Indhu Rubasingham, but the visionary regime of the RSC’s Daniel Evans and Tamara Harvey has demonstrated that classical theatre done well, with great actors, is what audiences really want to see. The arts world will be hopeful that the incoming artistic director of the Old Vic, Rupert Goold, will bring similar rigour to the South Bank next year.

Opera and classical music are following the lead, prizing clarity and intelligence above trendiness. Vanity Fair declared approvingly in recent times that “the opera is having a woke renaissance”. How things change. “Misguided wokeism” has been criticised as being the philistine impulse on part of the small-minded who believe that amateurism, with the “right” motivations, was somehow more impressive than non-ideological professionalism. Most people should agree.

The battle for good sense is not yet won, and we should be mindful of this. There are arts apparatchiks with their vested interests, wielding their pronouns and non-binary statuses like weapons of war, who will fight what they see as anti-progress for their entire lives. Yet others, who have been tired and fed up with tokenism and the oppressive rise of being told what to think – or else – may breathe a natural sigh of relief.

Most of us should be happy to end 2025 by seeing those who embrace wokeism with the same élan as they did previously [as being] behind us in time-honoured fashion.

Standard