Wittgenstein´s Critique of Gödel´s Incompleteness Results

It is often said that Gödel´s famous theorem of 1931 is\ud equal to the Cretian Liar, who says that everything that he\ud says is a lie. But Gödel´s result is only similar to this\ud sophism and not equivalent to it. When mathematicians\ud deal with Gödel´s theorem, then it is often the case that\ud they become poetical or even emotional: some of them\ud show a high esteem of it and others despise it. Wittgenstein\ud sees the famous Liar as a useless language game\ud which doesn´t excite anybody. Gödel´s first incompleteness\ud theorem shows us that in mathematics there are\ud puzzles which have no solution at all and therefore in\ud mathematics one should be very careful when one\ud chooses a puzzle on which one wants to work. Gödel´s\ud second imcompleteness theorem deals with hidden\ud contradictions – Wittgenstein shows a paradigmatic\ud solution: he simply shrugs his shoulders on this problem\ud and many mathematicians do so today as well. Wittgenstein\ud says than Gödel´s results should not be treated as\ud mathematical theorems, but as elements of the humanistic\ud sciences. Wittgenstein sees them as something which\ud should be worked on in a creative manner

Secure and Prepared Newsletter, August 24, 2012, Vol. 8, no. 15

A bi-weekly newsletter for those involved in the fields of homeland security and/or emergency managemen

Secure and Prepared Newsletter, September 23, 2011, Vol. 7, no. 15

A bi-weekly newsletter for those involved in the fields of homeland security and/or emergency managemen

Secure and Prepared Newsletter, July 29, 2011, Vol. 7, no. 12

A bi-weekly newsletter for those involved in the fields of homeland security and/or emergency managemen

Cruise 5 of the N. B. Scofield for 1952. Cruise Report 52-S-5

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Cruise 3 of the N. B. Scofield for 1953. Cruise Report 53-S-3

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Stilosoma, S. extenuatum

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Performing Lydia(s)

Performing Lydia(s) is a mystery developed at Bowling Green State University and performed at the Patti Pace Performance Festival in 2010. This mystery uses Diana Taylor\u27s response to Joseph Roach\u27s theory of performance genealogy to examine pieces of my family archive—epistles in the form of scripture, blogs, emails, family letters, and memoirs—for how they have imprinted themselves on later generations\u27 perception of gender identity. The vehicle for this exploration is my performance of the New Testament figure of Lydia in an original liturgical drama juxtaposed with the performance of my great Aunt Lydia\u27s memoirs