Do we care about Wittgenstein's Vienna by Allan Janik and Stephen Toulmin, which is all about putting philosopher Ludwig Wittgenstein's life and work in the context of the fin de siècle Vienna in which he grew up?
Well, I do, for several reasons. First, I am interested in the decline and fall of a ruling class, and what it looks like. Second, I am interested in better understanding the context of Wittgenstein's philosophy and thought. Third, I am interested in the cultural clash between the feudal-era Hapsburgs, the 19th century Viennese bourgeoisie, and the creative class chappies from Karl Kraus the journalist, Adolf Loos the architect, Arnold Schönberg the composer and, of course, Ludwig Wittgenstein the rich-kid philosopher and dropout. Fourth, I want to believe that our current ruling class is as clueless and myopic as the ruling clique in Hapsburg Vienna.
Decline and Fall of a Ruling Class: The Habsburgs were perhaps the most successful ruling class in history. Habsburg Castle was built in 1020, and Habsburgs were heads of the Holy Roman Empire from 1440 to 1740 and produced kings of Bohemia, Hungary, Croatia, Spain, Portugal and Galicia-Lodomeria. At the end of the 19th century the emperor Franz Joseph I ruled the Austro-Hungarian Empire from Vienna. You can imagine that all the lefty rich kids chattering in the cafés of Vienna absolutely hated this tottering remnant of feudalism into the modern era.
The Habsburgs ruled on the basis of Hausmacht which translates as house-power, and I interpret as governing to preserve and protect the power of the House of Habsburg. That is to say, everything that Franz Joseph did was an act to keep the Habsburg thing going. And so it did, until the defeat in 1918. Hey, it worked, keeping the ancient family in power until World War I swept the old order away.
Philosophical Context: Philosophically, I am a Kantian: I believe that we humans cannot know "things-in-themselves," only "appearances." Put crudely, I think that we cannot know the real reality, whatever it is -- if it is. Between things-in-themselves and appearances are all the theories and assumptions and science and philosophy that flesh is heir to and that we have such a grand old time arguing about.
Now Wittgenstein grew up in the era when all the science that we now take for granted was being proposed and argued about. For instance, Heinrich Hertz was developing a "model" theory of science and Ludwig Boltzmann was developing the idea of statistical mechanics that is now the core of quantum mechanics.
Then there was Ernst Mach who proposed to reduce "all knowledge to sensation;" so "the world is that sum total of what appears to the senses."
Hertz in his Principles of Mechanics proposed a "model" theory of science, that tests of "a representation of mechanical phenomena are logical consistency, correspondence with empirical data, and simplicity or elegance of presentation." Wittgenstein used Principles in his university studies.
Boltzmann's statistical mechanics is too complicated to discuss here, except to note that Max Planck picked up on it.
In this way, one could eliminate finally all subjective references, to "sensations of warmth" and the like, which lingered on in Machian accounts of heat theory and replace them with rigorous mathematical descriptions.
Needless to say, Wittgenstein was a Hertzian and a Boltzmannian, not a Machian.
Cultural Clash: Let us propose the following clashing cultures: the feudal Habsburg monarchy, the various nationalities in the Habsburg empire, the rising bourgeoisie, the rising industrial workers, the Jews, the rising intelligentsia. The Habsburgs were trying to manage all this to stay in power; the nationalities were each agitating to advance their separate national interest; the bourgeoisie was creating wealth and prosperity in the new industrial era, and building ornate houses to reflect their satisfaction; the new working class was having problems because of a severe housing shortage in Vienna; the Jews were shooting into the stratosphere after centuries in the ghetto; the creative intelligentsia was fit to be tied by the insult of Habsburg power, the mindlessness of the rich bourgeoisie that thought that just copying the fashionable taste was the way to organize life, and the need to create the world anew.
Wittgenstein's family history is canonical. His father, Karl, rebelled against his father, wanting to get a technical education, which his father considered beneath his status as a "gentleman." So Karl want off to America, and went to technical school on his return.
Over the next twenty years the financial world of Vienna witnessed the meteoric rise of Karl Wittgenstein to the heights of business success. He had an extraordinary capacity for utilizing his technical knowledge to transform failing factories into booming and productive enterprises.
But this immensely creative man -- he took his violin everywhere and just about everyone in the family was a talented musician -- would not allow his children to go their own way, Elder brother Hans wanted to be a musician; dad said no, and eventually Hans committed suicide. "His second son, Rudi, committed suicide in similar circumstances[.]"
Karl Wittgenstein had all his kids educated at home by tutors. But this meant that Ludwig could not go to a Gymnasium, because he didn't know Greek. So he went to Realschule and then engineering school (like Einstein) where he read, learned, and inwardly digested The Principles of Mechanics of Heinrich Hertz.
And of course, there was the intellectual culture of chaps like Kraus, Loos, and Schönberg.
There was Karl Kraus, the polemicist and satirist, who, the authors assert, held that the "tender fantasy [of womankind]... forms the unconscious origin... of all inspiration and creativity." And what he hated was the hypocrisy of the bourgeois culture that harassed prostitutes and homosexuals.
There was Adolf Loos, the father of modernist architecture, who hated decoration and the bourgeois "craze for totally meaningless articles of decoration" in their houses, "all purely for show."
There was Arnold Schönberg, the composer that gave us "the twelve-tone row" and whose music represents "attacks on the pseudo-sophistication of bourgeois aestheticism." See, Schönberg, like the critic of Wagner, Eduard Hanslick, "considered the question, how a composition sounds, as having no importance."
So the "beautiful" in music is, for Schönberg, a by-product of the composer's integrity, a function of his search for truth[.]
Notice the compulsion to épater la bourgeoisie. And note how the young sprouts of Vienna represent an emerging creative class desperate to break out of their embarrassing bourgeois origins and streak across the sky as creative gods of creation.
Myopia of Our Ruling Class: Steve Sailer has a piece on "The Future of Floydism" where he ponders what on earth our ruling class thinks it is doing with the "the worship of the holy martyr George Floyd and his racial brethren." Hey, writes, Sailer, gun murders are up by 34.4% in the year After Floyd. And we don't know what proportion of the murderers were blacks. Not yet.
Unsurprisingly, nobody in The Establishment is stepping forward to forthrightly apologize and admit that, yeah, the bad people (like, say, me) were right: America’s biggest criminal justice problem is not police brutality, it’s black brutality.
But is it all a conspiracy to screw us all over, a Macchiavellian plot by the Ruling Class? Sailer thinks not.
As reassuring as it is to imagine that when disasters befall America they must be the work of an all-knowing conspiratorial deep state out to get you, it seems more likely that there is no Inner Party. Nobody knows how things really work because, like the courtiers in The Emperor’s New Clothes, anybody who expresses doubts about Floydism is, as Hans Christian Andersen said, “unfit for his office.”
Maybe that's a good thing; maybe our ruling class doesn't have enough of a culture of Hausmacht to guide it in maintaining its power. Maybe its determination to get rid of Trump at all costs was not such a good idea. Maybe making liberal urbanist urban dwellers less safe will not end well for the rulers.
Of course, I would rather not have our ruling class exit stage left like the Habsburgs after losing a World War. That might not be too much fun.
I have in mind that one day soon some Trump or DeSantis will get up and, like Cromwell tell our ruling class:
Go, get you out! Make haste! Ye venal slaves be gone! So! Take away that shining bauble there, and lock up the doors.
In the name of God, go!
And, like the Good Little Boys and Good Little Girls they are, our ruling class will do just that.