Cornelius Cardew named his monumental graphic score Treatise after Ludwig Wittgenstein’s early philosophical masterpiece Tractatus logico-philosophicus, and this well-known fact has engendered speculation about whether there might be other connections between Cardew’s composition and Wittgenstein’s book. Previous commentaries have focused on possible allusions to the Tractatus in the visual imagery employed by Cardew, and this article includes further suggestions of this type. However, it concentrates on more general affinities between Treatise, as Cardew conceived of it prior to his involvement with the free improvisation group AMM, and the philosophy adumbrated in the Tractatus. Foremost among these is a striking concordance between Cardew’s initial enthusiasm for an isomorphic mode of interpreting Treatise and Wittgenstein’s picture theory of the proposition. The article also excavates traces of the picture theory in the numerological basis of Volo solo, a more conventionally notated by-product of the Treatise project.

中文翻译：

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论着与《论》

科尼利厄斯·卡杜（Cornelius Cardew）将他不朽的图形乐谱命名为论文在路德维希·维特根斯坦的早期哲学杰作之后逻辑哲学论，这一众所周知的事实引发了人们对卡杜的作品和维特根斯坦的书之间是否可能存在其他联系的猜测。以前的评论集中在可能的暗示上小册子在 Cardew 使用的视觉图像中，本文包括了这种类型的进一步建议。然而，它专注于更普遍的亲和力论文，正如 Cardew 在加入自由即兴小组 AMM 之前所设想的那样，以及在小册子。其中最重要的是 Cardew 最初对同构解释模式的热情之间的惊人一致性论文和维特根斯坦的命题图像理论。文章还挖掘了图像理论在命理基础上的踪迹。独奏，一个更传统地表示的副产品论文项目。