A “Divine Ambiguity”: Wittgenstein, Paolozzi, and Their Fascination with Machines

This paper examines the fascination – indeed, at times, an obsession – with machines in both Ludwig Wittgenstein and the artist Eduardo Paolozzi. By placing Paolozzi’s approach alongside Wittgenstein’s, it shows how each illuminates the other, with machines serving as a lens through which to understand their ‘collaborative’ relationship. It considers aspects of both their biographies, as well as Wittgenstein’s texts and Paolozzi’s works – particularly the series As Is When (1964-1965), inspired by Wittgenstein. The underlying claim is that, while Paolozzi was influenced by Wittgenstein, his artistic practice can, in turn, deepen our understanding of Wittgenstein’s philosophy. This is particularly evident in the “divine ambiguity” Paolozzi identifies in his collages, which resonates closely with Wittgenstein’s attempt to move beyond the traditional ontological divides that have shaped – and continue to shape – philosophical thought.