Well it appears the use of "picture" that I am focused on is not the only way in which Witt uses that word in the PI (there are more than 300 instances). A lot of the time he is talking about actual pictures (like paintings); at other points it is a mental image (picturing something to yourself); and, during his discussion of aspects, he creates the terms "duck-picture" and "rabbit-picture" to differentiate the two aspects of the "duck-rabbit" picture. However, there is a sense of "picture" which is what I am trying to make clear--what hides the ordinary from us (what is in plain view).
A summary of the relevant quotes below is that this kind of "picture" (I emphasize "Picture" in bold) is what we "want" (have a reason to desire) or are "tempted by"; at times he says which "suggests" or "forces" or "obtrudes" a particular use of a concept on us, blinding us to other uses, creating a "conflict" in us; or that we "exert" ourselves to "construct" or "conjure up" for, as examples: creating "reality" (#59); taking away our responsibility (#222); fixing a sense "unambiguously" making the ordinary seem "muddled" (#426); and, mostly, imagining that the world is hidden from us (#92)(including the other).
The reasons and process of this picture-creating, this intellectualizing of our everyday lives, is the subject of the Investigations (starting with Augustine's vision of language as only naming). "[A picture] must be explored if we want to understand the sense of what we are saying. But the
picture seems to spare us this work: it already points to a particular use. This is how it takes us in." P. 184. We "convince" ourselves for reasons we do not yet understand (p. 223), that we must gain perspective on, learn to avoid, working to humble ourselves to the world (#426).
"'A name signifies only what is an element of reality. What cannot be destroyed; what remains the same in all changes.'—But what is that?—Why, it swam before our minds as we said the sentence! This was the very expression of a quite particular image: of a particular
picture which we want to use." #59
"We see component parts of something composite (of a chair, for instance). We say that the back is part of the chair, but is in turn itself composed of several bits of wood; while a leg is a simple component part. We also see a whole which changes (is destroyed) while its component parts remain unchanged. These are the materials from which we construct that
picture of reality" #59
"Other illusions come from various quarters to attach themselves to the special one spoken of here. Thought, language, now appear to us as the unique correlate,
picture, of the world." #96
"The
picture of the cube did indeed suggest a certain use to us [a box], but it was possible for me to use it differently [as a triangle prism, which is also a cube]" #139
"What was the effect of my argument? It called our attention to (reminded us of) the fact that there are other processes, besides the one we originally thought of, which we should sometimes be prepared to call "applying the picture of a cube". So our 'belief that the
picture forced a particular application upon us' consisted in the fact that only the one case and no other occurred to us. " #140
"The line intimates to me the way I am to go." — But that is of course only a
picture. And if I judged that it intimated this or that as it were irresponsibly, I should not say that I was obeying it like a rule." #222
"The impression that we wanted to deny something arises from our setting our faces against the
picture of the 'inner process'. What we deny is that the
picture of the inner process gives us the correct idea of the use of the word "to remember". We say that this
picture with its ramifications stands in the way of our seeing the use of the word as it is." #305
"One is tempted to use the following
picture: what he really 'wanted to say', what he 'meant' was already present somewhere in his mind even before we gave it expression." #334
"But here we are constructing a misleading
picture of 'intending', that is, of the use of this word. An intention is embedded in its situation, in human customs and institutions." #337
"Instead of "imaginability" one can also say here: representability by a particular method of representation. And such a representation may indeed safely point a way to further use of a sentence. On the other hand a
picture may obtrude itself upon us and be of no use at all." #397
"When as in this case, we disapprove of the expressions of ordinary language (which are after all performing their office), we have got a
picture in our heads which conflicts with the
picture of our ordinary way of speaking." #402
"In numberless cases we exert ourselves to find a
picture and once it is found the application as it were comes about of itself. In this case we already have a
picture which forces itself on us at every turn, but does not help us out of the difficulty, which only begins here." #425
"A
picture is conjured up which seems to fix the sense un-ambiguously. The actual use, compared with that suggested by the
picture, seems like something muddied." #426
"While I was speaking to him I did not know what was going on in his head." In saying this, one is not thinking of brain-processes, but of thought-processes. The
picture should be taken seriously. We should really like to see into his head. And yet we only mean what elsewhere we should mean by saying: we should like to know what he is thinking." #427
"The
picture of the special atmosphere forced itself upon me; I can see it quite clear before me—so long, that is, as I do not look at what my memory tells me really happened." #607
"If the
picture of thought in the head can force itself upon us, then why not much more that of thought in the soul?" p. 178
""The mind seems able to give a word meaning"—isn't this as if I were to say "The carbon atoms in benzene seem to lie at the corners of a hexagon"? But this is not something that seems to be so; it is a
picture." p. 184
"What this language primarily describes is a
picture. What is to be done with the picture, how it is to be used, is still obscure. Quite clearly, however, it must be explored if we want to understand the sense of what we are saying. But the
picture seems to spare us this work: it already points to a particular use. This is how it takes us in." p. 184
""I cannot know what is going on in him" is above all a
picture. It is the convincing expression of a conviction. It does not give the reasons for the conviction. They are not readily accessible." p. 223