  The central virtue of these lectures is that Wittgenstein never loses a sense of the complexity of our aesthetic engagements, our language attending and in cases manifesting those engagements, and the contextually embedded nature of the aesthetic actions he is working to elucidate. Nor does he lose a sense of the relation—a relation necessary to the meaning of the aesthetic language we use – between the aesthetically-descriptive expressions we employ within particular contexts and “what we call the culture of the period” (Wittgenstein 1966, 8).  Of those aesthetic words, he says, “To describe their use or to describe what you mean by a cultured taste, you have to describe a culture” (Wittgenstein 1966, 8).  And again making the relation between his work in the philosophy of language and his work in the philosophy of art explicit (if again too briefly), he adds, “What belongs to a language game is a whole culture” (Wittgenstein 1966, 8). There the link to the irreducible character of rule-following is made again as well: “To describe a set of aesthetic rules fully means really to describe the culture of a period” (Wittgenstein 1966, 8, n. 3). If our aesthetic engagements and the interrelated uses of our aesthetic terms are widely divergent and context-sensitive, so are our aesthetic actions and vocabularies context-sensitive in a larger sense as well: comparing a cultured taste of fin-de-siecle Vienna or early-twentieth-century Cambridge with the Middle Ages, he says—implicitly referring to the radically divergent constellations of meaning-associations from one age to the other, “An entirely different game is played in different ages” (Wittgenstein 1966, p. 8).  Of a generic claim made about a person that he or she appreciates a given style or genre of art, Wittgenstein makes it clear that he would not yet know—stated in that generic, case-transcending way—not merely whether it was true or not, but more interestingly and more deeply, what it meant to say this. The word “appreciates” is, like the rest of our aesthetic vocabulary, not detachable from the  particular context within which it has its  life.[3]  If, against this diversity or context-sensitivity, we seek to find and then analyze what all such cases of aesthetic engagement have in common, we might well focus on the word “appreciation”. But that word will not have meaning with a bounded determinacy fixed prior to its contextualized use, which means that we would find ourselves, because of this philosophical strategy (the entire field “is very big and entirely misunderstood”), in a double bind: first, we would not know the meaning of the term upon which we were focusing; and second, we would, in trying to locate what all cases of aesthetic engagement have in common, leave out of view what he calls in this connection “an immensely complicated family of cases” (Wittgenstein 1966), blinding ourselves to nuance and complexity in the name of a falsifying neatness and overarching generality. “In order to get clear about aesthetic words you have to describe ways of living. We think we have to talk about aesthetic judgments like ‘This is beautiful’, but we find that if we have to talk about aesthetic judgments we don't find these words at all, but a word used something like a gesture, accompanying a complicated  activity” (Wittgenstein 1966, 11).