ABSTRACT: This chapter offers a revenge-free solution to the liar paradox (at the centre of which is the notion of Gestalt shift) and presents a formal representation of truth in, or for, a natural language like English, which proposes to show both why -- and how -- truth is coherent and how it appears to be incoherent, while preserving classical logic and most principles that some philosophers have taken to be central to the concept of truth and our (...) use of that notion. The chapter argues that, by using a truth operator rather than truth predicate, it is possible to provide a coherent, model-theoretic representation of truth with various desirable features. After investigating what features of liar sentences are responsible for their paradoxicality, the chapter identifies the logic as the normal modal logic KT4M (= S4M). Drawing on the structure of KT4M (=S4M), the author proposes that, pace deflationism, truth has content, that the content of truth is bivalence, and that the notions of both truth and bivalence are semideterminable. (shrink)

I defend a solution to a long-standing problem with perceptual appearances, brought about by the phenomenon of perceptual constancy. The problem is that in conditions which are non-ideal, yet within the range that perceptual constancy works, we see things veridically despite an “appearance” which is traditionally taken to be non-veridical. For example, a tilted coin is often taken to have an “elliptical appearance”, shadowed surfaces a “darker appearance”. These appearances are puzzling for a number of reasons. I defend and elaborate (...) on an approach taken by Sean Kelly, and earlier by the art historian E.H. Gombrich, according to which we can be tricked by our ability to bring about a kind of Gesltalt shift between different possible perceptual interpretations of a scene. (shrink)

This article interprets emotional change as a transition in a complex dynamical sys- tem. We argue that the appropriate kind of dynamical system is one that extends recent work on how neural networks can perform parallel constraint satisfaction. Parallel processes that integrate both cognitive and affective constraints can give rise to states that we call emotional gestalts, and transitions can be understood as emotional ges- talt shifts. We describe computational models that simulate such phenomena in ways that show how dynamical (...) and gestalt metaphors can be given a concrete realization. (shrink)

Quantum systems have a holistic structure, which implies that they cannot be divided into parts. In order tocreate (sub)objects like individual substances, molecules, nuclei, etc., in a universal whole, the Einstein-Podolsky-Rosen correlations between all the subentities, e.g. all the molecules in a substance, must be suppressed by perceptual and mental processes.Here the particular problems ofGestalt (shape)perception are compared with the attempts toattribute a shape to a quantum mechanical system like a molecule. Gestalt perception and quantum mechanics turn out (on (...) an informal level) to show similar features and problems: holistic aspects, creation of objects, dressing procedures, influence of the observer, classical quantities and structures. The attribute classical of a property or structure means thatholistic correlations to any other quantity do not exist or that these correlations are considered as irrelevant and therefore eliminated (either deliberately and by declaration or in a mental process that is not under rational control). An example of animposed classical structure is the nuclear frame of a molecule. Candidates for classical properties that arenot imposed by the observer could be the charge of a particle or the handedness of a molecule. It is argued here that at least part of a molecule's shape can begenerated automatically by the environment. A molecular shape of this sort arises in addition to Lamb shift-type energy corrections. (shrink)

In this article I present and discuss a reading hypothesis, according to which, with the purpose of thinking about the genesis of meaning in the lived experience without needing, for that, to resort to the reflexive transparency expedient ensured by the idea of a pure self, Merleau-Ponty promotes a shift in the way of employing the Gestalt notion, which starts to be read from the unconscious drive Freudian theory. Interpreted from psychoanalysis, however, Gestalt's notion would no longer (...) address the lived from a descriptive point of view and would assume a dynamic point of view, which Merleau-Ponty (1964a, p. 165) will call ontological, which, in turn, it will influence the Merleau-Ponty appropriation of psychoanalysis. Beyond anthropology, psychoanalysis, as a gestalt (or ontological) reading of the way the lived is articulated, would become a form of philosophy (MERLEAU-PONTY, 1964a, p. 323), the presentation of Being as a process of differentiation between incarnated signifiers, which would configure a “primary symbolism”. And my greatest interest, with this hypothesis, is to measure to what extent, with this approaching strategy between gestalt and psychoanalytic operators, Merleau-Ponty manages to solve a problem that he himself faced in his way of understanding how it is possible to have singularity in a context of production of spontaneous and generic meanings wholes. This means asking: in what sense the notion of gestalt whole clarifies what is the intimacy that, for example, psychoanalysis believes it can hear from the people? (shrink)

Summary This paper starts with a short review of recent developments in psychotherapy process research and analyzes that a medical, or better, technical approach in process research – using words such as ‘intervention’, ‘effect’ and ‘outcome’ – is gradually acknowledged as only one side of psychotherapy; the other, more human or ‘humanistic’ side, is ‘conversation’, described by prominent authors as ‘low technology’. Conversation analysis cannot study psychotherapy as a whole. Sessions are subdivided into ‘situations’. What are situations? I make a (...) proposal to answer this question by three components: open up, select and control options. Then, 11 transcribed extracts from psychoanalytical therapy sessions are used to describe three types of situations and the special kind of requirements they demand from a therapist. Obviously, such situations appear during a session, they can be handled if therapists are sensitized for certain difficulties to arise. Shift-of-situation and double meaning are new observations in this approach to define the situational gestalt and train ‘seeing’ it. (shrink)

While much of Arne Naess’s ecosophy underscores the importance of understanding one’s ecological Self, his analyses of gestaltism are significant in that they center less on questions of the self than on questions of nature and what is other-than-human. Rather than the realization of a more expansive Self, gestalt ontology calls for a “gestalt shift” in our thinking about nature, one that allows for its intrinsic value to emerge clearly. Taking such a gestalt shift as (...) a central task enables Naess to avoid some common criticisms of his view. (shrink)

Summary This article questions certain assumptions concerning film form made by the recent psychological film research and compares them to those of precursors of film psychology like Hugo Münsterberg and Rudolf Arnheim, as well as the principles of Gestalt psychology. It is argued that principles of Gestalt psychology such as those of ‘good form’ and good continuation are still underlying the psychological research of film, becoming particularly apparent in its approach to continuity editing. Following an alternative Gestalt (...) genealogy that links Gestalt theory with more recent dynamic models of brain activity and with accounts of brain complexity and neuronal synchronisation, the article concludes that psychological research on film needs to shift the focus from form to transformation, both in conceiving the perceptual and cognitive processing of films and in approaching film aesthetics more broadly. (shrink)

Bodhicaryåvatåra was composed by the Buddhist monk scholar Íåntideva at Nalandå University in India sometime during the 8th Century CE. It stands as one the great classics of world philosophy and of Buddhist literature, and is enormously influential in Tibet, where it is regarded as the principal source for the ethical thought of Mahåyåna Buddhism. The title is variously translated, most often as A Guide to the Bodhisattva’s Way of Life or Engaging in the Bodhisattva Deeds, translations that follow the (...) canonical Tibetan translation of the title of the book (Byang chub sems pa’i spyod pa la ‘jug pa) and the commentarial tradition of Tibet. But that translation itself is a bit of a gloss on the original Sanskrit, and I think that a more natural English rendering of the Sanskrit title is simply How to Lead an Awakened Life, and that indeed describes the content of the text admirably. Taking this as the title of the text might also issue in a kind of gestalt shift in our view of the text, allowing us to see it not so much as a characterization of the extraordinary moral life of a saint, but as a guide to moral development open to any of us. So, let’s take that as the English title for now. (shrink)

These sixty-one numbered paragraphs offer an overview of the idea and practice of lyric philosophy. They draw heavily on the author's texts Lyric Philosophy, Wisdom & Metaphor, and “Bringhurst's Presocratics: Lyric and Ecology”. The present essay outlines key concepts — clarity as resonance, metaphor as gestalt shift, meaning as gesture, the overlap between philosophy and poetry, the nature of lyric truth — and suggests that they are essential to an adequate epistemology. These concepts allow us to address serious (...) gaps in our understanding of how humans think, gaps that have arisen owing to the limitations of linguified intelligence coupled with a disinclination to admit the existence of these limitations. The overview also describes fundamental differences between lyric philosophy and analytic philosophy, while insisting on a robust conception of truth and on the existence of a knowable mind-independent world. The importance of a lyric approach for our understanding of a range of ecological questions is discussed, and lyric philosophy is positioned, politically, as a critique of technocracy. (shrink)

The thesis that certain competing scientific theories are incommensurable was introduced by Kuhn and Feyerabend in 1962 and has been a subject of widespread critique. Critics have generally taken incommensurable theories to be theories which cannot be compared in a rational manner, but both Kuhn and Feyerabend have explicitly rejected this interpretation, and Feyerabend has discussed ways in which such comparisons can be made in a number of his writings. This paper attempts to clarify the incommensurability thesis through the examination (...) of a number of examples, both scientific and nonscientific, of cases in which incommensurable points of view compete. There follows a discussion of Kuhn's analogy between paradigm change and gestalt shifts, the ways in which incommensurable theories can be compared, and one key reason why the incommensurability thesis has been so often misinterpreted by its critics. (shrink)

Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt (...) class='Hi'>shift in my readers. I direct the readers' viewing so that, at first, Gavarni's pierrots appear as handsome, albeit licentious youths, but then, through a shift in focus, I reveal their hideous, monstrous profiles. At this point, I argue that if we treat Gavarni's pierrots and the sorts of desires that they represent with single-minded opprobrium, then we run the risk of perpetuating the ugliness we scorn. There is, then, a double change in vision, which I seek to effect. The first one is the alteration of the visual, and the second, of the ethical perspective. The latter has to do with a realization that Gavarni's Pierrots can elicit from us — depending on how we see them — either complicity or reprehension, which is not so much a commentary on the drawing, as it is a reflection on ourselves (our biases, opinions, desires, values, etc.). The phenomenon that underlies the change in how we see what Gavarni portrays and how we, thereafter, relate to what we notice — the malleability of the human psyche — is what allows for and calls the many masking images we, ourselves, wear and perceive. The final question that I address in the paper is whether we can claim mastery over those images, which mask the monstrous or whether, if we do, then far from getting rid of the callous, the cruel, and the inhumane, we stand the risk of giving these expressions a freer playground? (shrink)

It seems obvious that signs in visual art and musical notation are static carriers of visual and acoustic information. Both types of sign, however, represent dynamic processes. In real space-time, there exists no static visible thing or static audible sound. The sources of visible or audible information are dynamic – i.e. complementary substantialenergetic-informational – entities extending in space-time. The same is true of an artificial or organic receiver and processor of visual or audible information. Reality and semiosis – to be, (...) to be perceived, and to be understood or to communicate – are dynamic processes. From a semiotic point of view, thus, pictures, photographic or artistic sign structures can’t be icons – in any case, if icons in a Peirceian manner are understood as signs representing objects for an interpretant by similarity . Similarity between icon and object is not a static precondition but a dynamic result of visual semiosis, i.e. of categorizing. Seeing something or hearing something is, as a consequence, not an “intuitive” or instantaneous Gestalt shift between representamen and object ongoing in an interpretant. And so, according to Fernande SaintMartin 1990: “visual semiotics … has to adopt an epistemology which is more in agreement with the dynamics of observed phenomena. It will recognize that matter is not inertness, but energy.” If the material carrier of semiosis, the representamen, already is to be understood as energy or dynamic process, all the more the whole complementary triadic sign-relation – object-representamen-interpretant – has to be understood as energetic information flow. This is being recognized in the transition from naturalistic, i.e. reproducing or mapping art, to modern, i.e. processing or interpreting/transducing art. Paul Klee 1990 for example says about the semiotic function of visual art: “Art doesn’t reproduce the visible but makes visible” . And he correlates the artistic activity of visualizing with the primordial, cosmogonic process of formation: “Reduced to the primordial process of formation, to creation, the process of cell division emerges” . Visual artistic semiosis is, thus, obviously to be understood as the process of emerging dynamic sign structures. It is the skill of the painter that makes the static results of dynamic semiosis “readable” for the viewer as signs – lines and surfaces - of the dynamic visual meaning of the picture. (shrink)

Aron Gurwitsch made two main contributions to phenomenology. He showed how to import Gestalt theoretical ideas into Husserl’s framework of constitutive phenomenology. And he explored the light this move sheds on both the overall structure of experience and on particular kinds of experience, especially perceptual experiences and conscious shifts in attention. The primary focus of this paper is the overall structure of experience. I show how Gurwitsch’s Gestalt theoretically informed phenomenological investigations provide a basis for defending what I (...) will call Phenomenal Holism, the view that all the parts of a total phenomenal state metaphysically depend on it. To illustrate how the ideas developed along the way can be used in advancing work on the phenomenology of particular kinds of experience, I draw on them in defending Husserl’s view that we can be aware of abstract objects against a phenomenological objection. (shrink)

When read as a theory that is supposed to mirror, represent or fit some collection of historical data, critics argue that Kuhn’s theory of paradigm shift in Structure of Scientific Revolutions fails by cherry-picking and underdetermination. When read as the ground for a socio-epistemological conception of rationality, critics argue that Kuhn’s theory fails by either the naturalistic fallacy or underarticulation. This paper suggests that we need not view Structure as a historian’s attempt to accurately depict scientific theory change or (...) a philosopher’s attempt to suggest, more normatively, the factors we ought to consider in theory choice. Instead, we might use Kuhn’s theory as a metaphilosophical frame through which to better understand the limits of otherwise intractable philosophical debates. We can focus on Kuhn’s theory not as a proposition or model to confirm, but as something we might use as a tool for understanding. Philosophers have discussed the justice and care orientations in ethics as two theories for which there will be some common, constraining set of intuitions to confirm one theory over the other, to demonstrate that protecting rights is fundamentally more valuable that fulfilling needs or that fulfilling needs is fundamentally more valuable that protecting rights. Instead of conceptualizing this conversation as a choice between two theories, this paper looks to Ian Hacking’s interpretation of Kuhn’s paradigm concept to suggest that working in the world of justice is very different than working in the world of care, as each orientation is a paradigm with its own cognitive and contextual standards of theory assessment. To start, after Larry Laudan, each has its own ontology, methodology, aims and values. But moreover, after Ian Hacking, each has an even larger, entrenched collection of projectible predicates. Though Carol Gilligan herself uses the metaphor of gestalt shift in a few places to characterize the move from the justice to the care perspective, the insight—that what many assume to be a standard exercise in theory choice is really more of a paradigm shift—has been under theorized by ethicists and ignored by philosophers of science. This paper brings the full resources of Structure and its secondary literature to this metaethical issue, while making the larger point that Structure has an important pragmatic role to play, when it comes to the understanding philosophical debates, even if we cannot secure the truth of Kuhn’s theory. (shrink)

When read as a theory that is supposed to mirror, represent or fit some collection of historical data, critics argue that Kuhn’s theory of paradigm shift in Structure of Scientific Revolutions fails by cherry-picking and underdetermination. When read as the ground for a socio-epistemological conception of rationality, critics argue that Kuhn’s theory fails by either the naturalistic fallacy or underarticulation. This paper suggests that we need not view Structure as a historian’s attempt to accurately depict scientific theory change or (...) a philosopher’s attempt to suggest, more normatively, the factors we ought to consider in theory choice. Instead, we might use Kuhn’s theory as a metaphilosophical frame through which to better understand the limits of otherwise intractable philosophical debates. We can focus on Kuhn’s theory not as a proposition or model to confirm, but as something we might use as a tool for understanding. Philosophers have discussed the justice and care orientations in ethics as two theories for which there will be some common, constraining set of intuitions to confirm one theory over the other, to demonstrate that protecting rights is fundamentally more valuable that fulfilling needs or that fulfilling needs is fundamentally more valuable that protecting rights. Instead of conceptualizing this conversation as a choice between two theories, this paper looks to Ian Hacking’s interpretation of Kuhn’s paradigm concept to suggest that working in the world of justice is very different than working in the world of care, as each orientation is a paradigm with its own cognitive and contextual standards of theory assessment. To start, after Larry Laudan, each has its own ontology, methodology, aims and values. But moreover, after Ian Hacking, each has an even larger, entrenched collection of projectible predicates. Though Carol Gilligan herself uses the metaphor of gestalt shift in a few places to characterize the move from the justice to the care perspective, the insight—that what many assume to be a standard exercise in theory choice is really more of a paradigm shift—has been under theorized by ethicists and ignored by philosophers of science. This paper brings the full resources of Structure and its secondary literature to this metaethical issue, while making the larger point that Structure has an important pragmatic role to play, when it comes to the understanding philosophical debates, even if we cannot secure the truth of Kuhn’s theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Taking Up Space:Museum Exploration in the Twenty-First CenturyTiffany Sutton (bio)Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art.1 Over the course of the twentieth century, however, curators dispelled such blanket pessimism by showing that what keeps historical art (...) museums, both comprehensive and modern, "alive" and relevant in the modern art world are the things that curators do with the artworks in their collections.2 In certain cases, I will argue in this article, the focus on artworks and the relationship between them can be rewardingly shifted onto the spatial aspect of the museum. I will try to show what such a shift of focus entails, show that it involves a gestalt shift (in Wittgenstein's terms, the "dawning of an aspect"), and illustrate the limits within which this can arise.3 The foremost of these limiting factors is museum architecture, and I will discuss this to the extent that it determines the limits of what curators can do. How architects do things with museums, however, lies outside the scope of this article.An Art Historical Heuristic Gets a Curatorial MakeoverNineteenth-century art museums typically were vast, labyrinthine, and built to assume the shape of a comprehensive art historical narrative, so they were easy targets for ideologues drawn to vibrant modern artworks and the controversy surrounding them. At the turn of the twentieth century new commercial galleries developed a distinctively modern mode of display in which individual artworks were showcased with plenty of space around them.4 Had existing museums changed their ways to accommodate these developments, the momentum of a new aesthetic of flatness, surface, [End Page 87] and yet purer forms of conceptualism would have been lost. It was not a time for absorption and deflation: new museums, no less monumental and historical but smaller and with fewer volumes, were commissioned to give modern art the appearance of a fresh start.5 The weightless upward mobility of Frank Lloyd Wright's Guggenheim Museum in Manhattan, modeled in 1945 and opened to the public in 1959, consummated this trend of the first half of the twentieth century and gave it its purest form. What the building spurt revealed was that as art changes, it demands to be reflected in its surroundings, not merely accommodated. That the response was to build new museums rather than new wings suggests the inner workings of the principle—call it "curatorial heuristic one"—that, whereas art history is fluid and simply flows forward with new developments, museums are not of this nature; they can become effete.The curatorial revision of this heuristic was a century in coming. As often happens when emerging movements are yet underdetermined, modernism suppressed in its beginnings the background factor that would seem to entail the end of modern art when finally brought into focus: the very context of display that had once set it apart. Duchamp's Readymades (1913) gave the initial nod (or wink) to the gallery context; it was, however, ignored, as a suppressed punch line, until art history was ready to concede the importance of the context of display—not in the gallery, but in the museum—to a site-specific artwork by Richard Serra: his Splashing and Prop (1968). With the museum's framing context and, concomitantly, the importance of the curator's work conceded, the barrier that had kept lesser masterpieces in the basement (or out of the museum) were removed. Unearthed, these began to circulate, and attention centered on the relation in which they stood to better-known artworks, either as suppressed alternates or as descendants of an artistic lineage. So postmodern sprawl began, with the display of multiple alternative art histories drawing, as modernism had, on available display conventions for periodizing according to internal principles (period, school, genre, style) such that detection of them devolved upon the viewer.When public uses for the new public museums began to diversify (from an historical/educational focus to aesthetic/educational and cultural/political ones), principles for ordering artworks were... (shrink)

Kuhn uses the distinction between `(simple) seeing', and `seeing as' in order to claim that among competing paradigms there cannot be found any middle (experiential) ground; nothing `same' can be located behind such radically different paradigm-worlds. He claims that scientists do not see a common something as this thing at one time and as that thing at another. Each time scientists simply see what they see. To claim the contrary is to claim that scientists arrive at their paradigmatic experiences of (...) the world due to an interpretation of something `same' beyond the paradigms,and Kuhn rejects this. The question of whether a common ground can be found behind two or more different paradigmatic world-views relates to many issues in philosophy of science and in general epistemology (e.g., realism-idealism, relativism-objectivism, etc.). As a first approach to these, in this paper I examine the presuppositions of Kuhn's claim, its consistency in the exposition, and its overall viability. I conclude that the actual way in which Kuhn refers to the historical examples he examines undermines his explicit thesis. But also the paradox he himself recognizes in his thought that `though the world does not change with a change of paradigm, the scientists afterward works in a different world' can be solved only if we start to think seriously about the necessity and nature of a `same in the different' behind the competing paradigmatic world-experiences. (shrink)

The perception of brightness differences in Ehrenstein figures and of illusory contours in phase-shifted line gratings was investigated as a function of the contrast polarity of the inducing elements. We presented either continuous lines or line-like arrangements composed of aligned dashes or dots whose spacing was varied. A yes/no procedure was used in which naive observers had to decide whether or not they perceived a brightness difference in a given Ehrenstein figure or an illusory contour in a phase-shifted line grating. (...) The results show that brightness differences are perceived to some extent in Ehrenstein figures with inducers of opposite polarity of contrast; however, the percentage of yes response was systematically lower and response times were longer than for figures with inducers of the same polarity. Phase-shifted line gratings with lines of opposite polarity of contrast yielded stronger illusory contours and shorter response times than those with lines of the same polarity. When the sign of contrast was not the same within a given line of induction, neither differences in brightness nor illusory contours were perceived. The results suggest that the mechanisms that lead to apparent differences in brightness are more sensitive to input of the same contrast polarity, the mechanisms generating illusory contours more sensitive to input of opposite polarity. The data are discussed in the light of a multistage approach to illusory form perception and some implications for cortical models of illusory contour integration are discussed. (shrink)

Objects are central to perception and our interactions with the world. We perceive the world as parsed into discrete entities that instantiate particular properties, and these items capture our attention and shape how we interact with the environment. Recently there has been some debate about whether the sense of smell allows us to perceive odours as discrete objects, with some suggesting that olfaction is aspatial and doesn’t allow for object-individuation. This paper offers two empirically tractable criteria for assessing whether particular (...) objects are exhibited in perceptual experience— susceptibility to figure-ground segregation and perceptual constancies—and argues that these criteria are fulfilled by olfactory perception, and thus there are olfactory objects. I argue that there are, in fact, two different ways that olfaction allows for figure-ground segregation. First, I look at various Gestalt grouping principles, which are thought to govern when features are perceived as grouped into structured wholes, segregated from everything around them. I argue that these principles apply to olfactory experience, providing evidence of non-spatial figure-ground segregation. Second, I defend the contentious idea that a spatial variety of figure-ground segregation can also occur in olfaction. To see this, however, we need to look to empirical evidence showing that tactile stimulation and bodily movements play a crucial role in olfactory phenomenology. Finally, I draw on empirical evidence and olfactory phenomenology to argue that there are perceptual constancies in olfactory experience, allowing us to perceive odours as coherent objects that survive shifts in our perspectives on the world. (shrink)

Introduction. The book is a study in Adam Smith's system of ideas; its aim is to reconstruct the peculiar framework that Adam Smith’s work provided for the shaping of a semi-autonomous new discipline, political economy; the approach adopted lies somewhere in-between the history of ideas and the history of economic analysis. My two claims are: i) The Wealth of Nations has a twofold structure, including a `natural history' of opulence and an `imaginary machine' of wealth. The imaginary machine is a (...) kind of Newtonian theory, whose connecting links are principles; provided either by `partial' characteristics of human nature or by analoga of physical mechanisms transferred to the social world; ii) a domain of the economic, understood as a self-standing social sub-system, was discovered first by Adam Smith. His `discovery' of the new continent of the economic was an `unintended result' of a deviation in his voyage to the never-found archipelago of natural jurisprudence. -/- 1. Imaginary machines and invisible chains: natural philosophy and method. The first chapter reconstructs Smith's views on the method in natural philosophy, presented primarily in the History of Astronomy (HA). The peculiar kind of semi-sceptical Newtonianism which permeates the essay is highlighted. Its reconstruction of the history of one natural science is shown to be based on the assumptions of Hume’s epistemology, and to lead to a self-aware deadlock. Smith's dilemma is between an essentialist realism and sceptical instrumentalism; the Cartesian presuppositions he shares with Hume and with the 18th century as a whole make it impossible for him to overcome his dilemma. The following chapters will show how, on the one hand, Smith's skeptical methodology encourages him in the enterprise to `carve off' a new self-contained discipline and how, on the other hand, his epistemological dilemma is reflected in the inner tensions of his moral and political theory as well as in a number of basic oscillations concerning the status of the new discipline. -/- 2. Chessboards and clocks: moral philosophy and method. -/- The second chapter reconstructs Smith's views on the method in the parallel field of moral philosophy, including the theory of moral sentiments and natural jurisprudence. I argue that The Theory of Moral Sentiments, when considered together with with the Lectures on Jurisprudence, where Smith's peculiar version of a `weaker' form of natural law is presented, wins special interest, not only for the history of ethics but even more for the history of political theory and the social sciences. The two most striking features of Smith's work in this area are highlighted. First, his effort at reformulating the `practical science' is a methodologically self-aware attempt at applying the Newtonian method to moral subjects. Secondly, this attempt ends in a stalemate as two distinguished kinds of normative order are introduced: one ultimate order of Reason, ultimately justifiable but inaccessible, and one weaker order of our `natural sentiments', to which we have empirical access, but which is so variable as to lack any ultimate value as a basis for grounding our normative claims. These two parallel conundrums may arguably account for the author's inability to publish during his lifetime both The History of Astronomy and the projected history and theory of law and government. -/- 3. Wheels, dams, and gravitation: the structure of scientific argument in The Wealth of Nations. -/- The third chapter provides the core of the book, dealing with the structure of the argument in WN. I argue that the main presupposition that makes the shift possible from a `natural history' to a `system' approach is the Newtonian contrast of `mathematical' with `physical' explanation; that is, Smith drops any discussion of the "original qualities" of human nature that could account for economic behaviour, while introducing, as `principles' for the system, a set of `hypothetical' statements of `observed' regularities in human behaviour and of `observed' super-individual self-regulating mechanisms. In bringing this presupposition to light, the coexistence of a teleological with a mechanistic approach is clarified; fresh light is shed on the notion of the invisible hand by a comparison of its occurrence in Smith with the occurrence of the same expression (until now overlooked) in the correspondence between Newton and Cotes. Finally, the peculiar semi-prescriptive and semi-descriptive character of political economy are highlighted, and the consistency of Smith's `impure' semi-prescriptive social science, when understood in his own terms, is defended against familiar charges with inconsistency and against even more familiar strained modernizations. -/- 4. Apples, deer, and frivolous trinkets: the construction of the economic. -/- The fourth chapter draws consequences from the third, examining how Smith's achievement in political economy, marking its transition to scientific status, carried a re-description of the phenomena, creating the comparatively independent and unified field of the economic. Smith's achievement is interpreted not as the `discovery' of an autonomous character already possessed by the economy out there, so much as a Gestalt-switch by which our perception of social phenomena is modified making us `see' the partial order of the economy as an isolated system. To sum up, the autonomy of the economic in social reality and the autonomy of the economic in social consciousness are shown to be two sides of one process. -/- 5. Concluding considerations: Political economy and the Enlightenment halved. -/- A few suggestions on the status of economic theory two centuries after The Wealth of Nations in its relationship to ‘practical philosophy’ are illustrated. (shrink)

We provide a detailed history of the concepts of atomic number and isotopy before the discovery of protons and neutrons that draws attention to the role of evolving interplays of multiple aims and criteria in chemical and physical research. Focusing on research by Frederick Soddy and Ernest Rutherford, we show that, in the context of differentiating disciplinary projects, the adoption of a complex and shifting concept of elemental identity and the ordering role of the periodic table led to a relatively (...) coherent notion of atomic number. Subsequent attention to valency, still neglected in the secondary literature, and to nuclear charge led to a decoupling of the concepts of elemental identity and weight and allowed for a coherent concept of isotopy. This concept received motivation from empirical investigations on the decomposition series of radioelements and their unstable chemical identity. A new model of chemical order was the result of an ongoing collaboration between chemical and physical research projects with evolving aims and standards. After key concepts were considered resolved and their territories were clarified, chemistry and physics resumed autonomous projects, yet remained bound by newly accepted explanatory relations. It is an episode of scientific collaboration and partial integration without simple, wholesale gestalt switches or chemical revolutions. (shrink)

As a philosophical paradigm, differential heterogenesis offers us a novel descriptive vantage with which to inscribe Deleuze’s virtuality within the terrain of “differential becoming,” conjugating “pure saliences” so as to parse economies, microhistories, insurgencies, and epistemological evolutionary processes that can be conceived of independently from their representational form. Unlike Gestalt theory’s oppositional constructions, the advantage of this aperture is that it posits a dynamic context to both media and its analysis, rendering them functionally tractable and set in relation to (...) other objects, rather than as sedentary identities. Surveying the genealogy of differential heterogenesis with particular interest in the legacy of Lautman’s dialectic, I make the case for a reading of the Deleuzean virtual that departs from an event-oriented approach, galvanizing Sarti and Citti’s dynamic a priori vis-à-vis Deleuze’s philosophy of difference. Specifically, I posit differential heterogenesis as frame with which to examine our contemporaneous epistemic shift as it relates to multi-scalar computational modeling while paying particular attention to neuro-inferential modes of inductive learning and homologous cognitive architecture. Carving a bricolage between Mark Wilson’s work on the “greediness of scales” and Deleuze’s “scales of reality”, this project threads between static ecologies and active externalism vis-à-vis endocentric frames of reference and syntactical scaffolding. (shrink)

Addiction: A Philosophical Approach CHAPTER ABSTRACTS “Introduction: Dismantling the Catchphrase” by Candice Shelby Shelby dismantles the catchphrase “disease of addiction.” The characterization of addiction as a disease permeates both research and treatment, but that understanding fails to get at the complexity involved in human addiction. Shelby introduces another way of thinking about addiction, one that implies that is properly understood neither as a disease nor merely as a choice, or set of choices. Addiction is a phenomenon emergent from a complex (...) dynamic system that is at once physical, psychological, social, and more. “A Philosophical Analysis of Addiction” by Candice Shelby Shelby brings much-needed clarity to the discourse surrounding the topic of addiction. Arguing that addiction can neither properly be understood as a disease nor as merely a set of choices, Shelby exposes the weaknesses of both approaches. She shows that addicted persons do not exhibit the elements characteristic of compulsion, nor does an account of addiction in terms of weakness of will, or irrational choosing, provide a satisfying explanation. Instead, by replacing traditional substance ontology with process ontology, and accepting the reality of emergent entities, a coherent account of persons, minds, and addiction can be provided. A fundamental philosophical shift is necessary to see that bodies, minds, values, and addictions are all part of the natural world. “Addiction at the Individual Level” by Candice Shelby Shelby discusses the most influential accounts of addiction as it is understood at the purely individual level. From hedonic theories to incentive sensitization, to habit theories of addiction, to behavioral theories and the ego depletion theory, Shelby considers a variety of approaches to understanding addiction in individuals, as framed in both psychological and in neuroscientific terms. She notes some important caveats that should be considered before accepting the research regarding addiction at the individual level, namely that the scanning studies that are so popularly used to characterize addiction in neurobiological terms are ambiguous, and rely on numerous assumptions that may be false, and that certainly mislead. Shelby provides much-needed critique of both disease and choices models as they characterize addiction at the individual level. “Addiction and the Local Environment” by Candice Shelby Shelby argues that human addiction cannot be understood without serious consideration of the individual’s local environment, her home and family. From the gestational environment to interactions with caregivers during post-natal development to the adult environment in which people become addicted, Shelby shows that no one becomes an addict in a vacuum. Stress is a major influence in the environment throughout life, and has serious consequences for addictive vulnerability. Genetic influences as well are important to addictive vulnerability, but genes always express in interaction with their environment. Social acceptance or rejection is another particularly important factor in the local environment with respect to both coming to be addicted and transitioning out of it. “The Relation Between Addiction and Culture” by Candice Shelby Shelby provides a groundbreaking analysis of the relation between addicts and the cultures that breed them. In this cultural critique, Shelby shows that addictions to certain substances have historically been both the solution to the problem of how to grow economies and control people, and a problem for economic productivity and controlling citizens. Not all cultures have even the concept of addiction, while others, such as the contemporary Western world, and the U.S. in particular, seem to foster it. Shelby shows that addiction is both a cultural construct and, from another way of thinking about it, the result of conditions created by particular cultures. Social inequities, alienation, driving capitalism, and in particular the power of pharmaceutical companies, all contribute to the spiraling endemic of addiction. “Addiction and Meaning” by Candice Shelby Shelby provides a unique argument that understanding how meanings work is essential to a complete analysis of addiction. Individuals experiencing addiction and those who care about and for them often utterly fail to communicate. This is because their respective systems of meanings come to be significantly different. Meanings are not, Shelby argues, best understood in the symbolic terms that characterized the theory of language in the 20th century, but are better apprehended as emotion-rich prototypes carved from repeated interaction with the world. Becoming addicted essentially changes one’s entire system of meanings. Requisite to transitioning out of addiction is a Gestalt-type shift in one’s system of meanings. This holistic way of understanding meanings also provides one level of explanation of what happens when an addict relapses. “The Phenomenology of Addiction and its Implications” by Candice Shelby One way of judging theories of addiction is by how well they capture the phenomenal descriptions that addicts give of their own experiences. Shelby considers variations on 5 basic patterns of addictive experience through the eyes of particular individuals who lived through addictive periods, and shows how even the most influential theories of addiction fail to capture all of them. She argues that an important implication of taking the details of individuals’ addictive stories seriously is that addiction must be understood as a personal phenomenon emergent from a particular complex dynamic system. As her theory of addiction would lead one to expect, no two addicts are the same, and no single-focus theory can explain why not. “Possibilities for Transitioning Out of Addiction” by Candice Shelby Shelby provides numerous strategies for transitioning out of addiction. Given that the vast majority of addiction treatment programs currently available are 12-step based and only successful about 5-8% of the time, it is essential that other approaches be undertaken. Shelby canvasses a variety of options for helping addicted individuals to make the transition out of their troubled pattern of thinking and behaving. From direct brain interventions to drugs to trauma therapy to exercise and nutrition to habit reformation to use of narrative and changing one’s social context as ways of redefining the self, Shelby shows that the possibilities for transitioning out of addiction are legion. Perhaps the best approach is to understand addiction treatment in terms of providing physical, psychological, and social tool kits. “Addiction Emerges from a Complex Dynamic System” by Candice Shelby Shelby considers whether there truly exists such a thing as “an addict” or “addictive thinking” in the universal sense. She concludes that within the context of disruptive substance use or repetitive engagement in certain activities, ordinary human cognitive biases and behavior patterns are categorized as addictive. Addiction, she argues, is best understood as an irreducible human reality, emergent from a sufficiently complex dynamic system (an organism with self-awareness, within a particular cultural milieu) that is both shaped by and contributes to the shaping of its environment. Attempts to simplify addiction into one or a few dimensions may create a solvable problem, but by doing so they fail to solve the real one. (shrink)

Consciousness6 carries the connotation of a state of consciousness . It is an emergent property of a gestalt phenomenon, namely the psychophysiological state of the organism . In this article, I extend my previous discussion of states of consciousness , embedding this within the wider perspective of both Gestalt psychology and psychoanalytic ego psychology. Gestalt notions, such as Prägnanz and microgenesis, are shown to be highly relevant to this theme. Natsoulas’ recent appraisal of my viewpoint has goaded (...) me into reiterating the argument for looking at a qualitative change in thought, characterizing the shift in consciousness6, as being a promising area for further development. This hypothesized change in mode of thinking is of a metaphoric—symbolic nature, what such authors as Hunt and Haskell would term symbolic cognition. I discuss the relationships among perceptual experience, symbolic cognition and state of consciousness, concluding with some comments on Natsoulas’ reservations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.4 (2001) 323-326 [Access article in PDF] The Tacit Dimension Thomas Fuchs Thirty years after its appearance, Blankenburg's "Psychopathology of common sense" has not lost its relevance. In my commentary I will try to illustrate the fruitfulness of his approach by pointing to some connections with the phenomenology of the body as well as with recent memory and infant research.As Blankenburg himself indicates, the notion (...) of common sense developed by a shift of meaning from the classical sensus communis and thus has its original basis in the sensual-bodily experience. By the koinè aísthesis, Aristoteles meant a central sense organ integrating all single modalities of sensation (which he localized in the heart). In German physiology and psychiatry of the nineteenth century, the sensus communis was still translated as "Gemeingefühl" ("common feeling") or "cenesthesia" (Fuchs 1995). This term denoted the inner, proprioceptive bodily sensations, but also an original unity of the senses, which has been rediscovered by recent infant research as intermodal sensory perception. The affection of the body was thus regarded as the common basis of all sensation.Looking on this track for a bodily basis of the common sense, we find it in the habitual structure of the lived-body as analysed by Merleau-Ponty (1945). The body is the primary "matter-of-course," namely, the tacitly functioning medium of our everyday being-in-the-world prior to any subject-object split. The body schema, in Merleau-Ponty's view, is not only a system of familiar units of movement or "kinetic melodies," it also incorporates the surrounding things, tools, and spaces that are familiar to us and that we "inhabit." Thus, the musician "does not only manipulate the instrument like a separate object, but lives in it like a limb and inhabits the expressive musical space it opens" (Behnke 1997). But for Merleau-Ponty, the body schema is also the basis of "intercorporeity," i.e., a prepersonal sphere of reciprocal comportment and understanding prior to any explicit consensus and symbolic communication. In this sphere of elementary contact, the "atmospheric" senses play a major role: The sense of smell (as shown, e.g., by the expression "to scent treason" or in German, "jemand nicht riechen können" [not be able to "smell" or stand someone]) as well as the sense of taste whose ambiguous meaning, mentioned by Blankenburg, points to the bodily basis of the feeling for what is suitable, decent, or aesthetically pleasing. Even the designation of homo sapiens that we give to ourselves is derived from the latin sapere (to taste/to know), and thus shows that the knowledge characteristic for man is not an explicit one, but an intuitive, implicit knowing or "feel" for his surroundings, or as Kant says, an "aesthetic rather than intellectual judgment" (cited by Blankenburg).Polanyi (1967) has analysed this knowledge at the roots of common sense as "tacit knowledge." It is based on processes of Gestalt formation that enable us to grasp unified wholes through their constituting elements without still being aware of the latter. Thus, we understand the facial expression of others immediately but cannot tell from which details. Or we know how [End Page 323] to waltz without knowing the single movements or being able to explain it. Tacit knowledge implies all the taken-for-granted that we have forgotten once it has become our second nature and part of our bodily habits. It is mainly based on the neuronal coupling of single sensori-motor units by repeated perception or action. This unconscious knowing has only recently come to be explored by psychology under the heading of "implicit" or "procedural memory" (Schacter 1987, 1996). It contains familiar styles or "melodies" of moving, perceiving, and being-with-others in which our whole bodily and emotional experience is engaged. There is an atmospheric, "felt" quality about them that cannot be analysed into single elements. Implicit knowledge may, therefore, never be wholly expressed by words—it is only realized in the concrete situation. It may only be circumscribed by expressions such as "how it feels...," "how it is...," e.g., how it is... (shrink)

Der Konstruktionsbegriff erfuhr er unter dem Eindruck technischer Fortschritte wie soziokultureller Veränderungen vor allem im 19. Jahrhundert wesentliche Wandlungen. Mit dessen selbstverständlich erscheinender Nutzung ergibt sich die Frage nach seinem Bedeutungsfeld: Ist Konstruieren ein Prozess, der sich auf das Entwerfen, die Präsentation der äußerlichen Gestalt des zu erzeugenden Gegenstandes konzentriert oder sind in ihm wesentlich mehr Aspekte impliziert? Im 17./18. Jahrhundert war Konstruktion verbunden mit dem Maschinenbegriff und vom Anspruch getragen, das geschlossene Ganze der Maschine als Objekt zu erfassen. (...) Im Unterschied dazu wurde namentlich in der klassischen deutschen Philosophie der Konstruktionsgedanke in ganz anderer Weise ausgebildet. Insbesondere Fichte vollzog einen Paradigmawechsel, indem er die Konstruktion zur universellen Fähigkeit der Begriffsbildung erhob. Wissen galt ihm als ideale "Nachkonstruktion" des Seins unter der Form des Wissens. Es verbindet sich damit der Wechsel vom ordnenden zu einem entwerfenden Weltverhältnis. Das Wissen erscheint nun als ein Werdendes. Im Herausarbeiten der theoretischen-begrifflichen Fassung des Wesens eines Gegenstandes manifestiert sich der entwerfende, tätige Charakter des Subjektes. Der Artikel verfolgt zum einen Aspekte der philosophischen und zum anderen der technischen Entwicklung. The concept of construction underwent significant changes under the influence of technical advances and socio-cultural changes, especially in the 19th century. With its seemingly obvious use, the question of its field of meaning arises: Is construction a process that focuses on design, the presentation of the external shape of the object to be produced, or are significantly more aspects implied in it? In the 17th/18th In the 19th century, construction was associated with the concept of machine and supported by the claim to grasp the closed whole of the machine as an object. In contrast to this, the idea of ​​construction was developed in a completely different way, especially in classical German philosophy. Fichte in particular carried out a paradigm shift by elevating construction to the universal ability of concept formation. Knowledge was for him the ideal "reconstruction" of being under the form of knowledge. This is linked to the change from an ordering to a designing world relationship. Knowledge now appears as something in the making. The drafting, active character of the subject manifests itself in the working out of the theoretical-conceptual version of the essence of an object. The article follows aspects of philosophical and technical development on the one hand. (shrink)

This paper first advances and discusses the hypothesis that so-called “iconic” or (for the auditory sphere) “echoic” memory is actually a form of perception of the past. Such perception is made possible by parallel inputs with differential delays which feed independently into the sensorium. This hypothesis goes well together with a set of related psychological and phenomenological facts, as for example: Sperling’s results about the visual sensory buffer, the facts that we seem to see movement and hear temporal Gestalts, and (...) the fact that we sometimes seem to hear sounds only after they have stopped. In it most simple form, and formulated in the somewhat misleading information processing idiom, my hypothesis says that each one of a number of parallel input lines with different delays feeds into a spatially separate sensory unit. The set of such units then holds information about the immediate past in what one might call a “chronotopic” sensory map. This contrasts with the idea (common in sensory buffer theory) that the received sensory information is kept (while possibly decaying) in the same unit for some time after it occurred. The hypothesis also contradicts the theory that all sensory information passes through the same unit but is then successively passed through a unidirectional chain of separate units, where the past experiences then become represented (the shift register hypothesis). The main advantage of my theory, beside the natural explanations it offers for the above-mentioned kind of phenomena, is that it postulates a parallel – and therefore robust – rather than a serial mechanism for the registering of temporal information. It can of course easily be modified to fit more complex models of the sensory cerebral code(s) as well as of the chronotopic representation as such. -/- In the second part of my poster, I advance a corresponding hypothesis for those motor commands which control brief movements. At closer inspection, most socalled “ballistic” movements do not seem to be truly ballistic (in the sense in which the movement of a cannonball is so) since the brain must exert some kind of feedforward control over the later part of their trajectory. I suggest that this control is at least sometimes realized by means of differentially delayed output from a chronotopic representation of successive segments of the movement. Not only could this be a biologically natural way of ensuring efficient adaptability of the movement; the hypothesis also explains the not uncommon experience of “seeing the whole movement laid out in advance” when it is initiated. (shrink)

Volume II in the Evolution of Gestalt series, _Relational Child, Relational Brain_ continues the development of the paradigm shift that places human development in a field that is deeply complex and fundamentally one of interconnection, taking us away from the limiting view of us as separate individuals. It builds on the foundation of contemporary views of relational neurodevelopment and the profound influence of relationship on brain growth. It shows how, particularly in the first two years of life, but (...) continuing across the whole of childhood and adolescence into early adulthood, the relational field is the context of child development. The focus then broadens out to examine the intersubjective influence of community, culture, and social and physical support. Backed by neurobiological and related research, it offers many examples of relational Gestalt practice with children, adolescents, and their families, with stories of loss, trauma, isolation, and other adversities. Not just an invaluable resource for child and adolescent therapists, _Relational Child, Relational Brain_ goes beyond the Esalen Study Conference from which it emerged and is a further invitation and challenge to apply relational Gestalt practice as a coherent and effective way forward in the troubled world of today. (shrink)

Der Konstruktionsbegriff erfuhr er unter dem Eindruck technischer Fortschritte wie soziokultureller Veränderungen vor allem im 19. Jahrhundert wesentliche Wandlungen. Mit dessen selbstverständlich erscheinender Nutzung ergibt sich die Frage nach seinem Bedeutungsfeld: Ist Konstruieren ein Prozess, der sich auf das Entwerfen, die Präsentation der äußerlichen Gestalt des zu erzeugenden Gegenstandes konzentriert oder sind in ihm wesentlich mehr Aspekte impliziert? Im 17./18. Jahrhundert war Konstruktion verbunden mit dem Maschinenbegriff und vom Anspruch getragen, das geschlossene Ganze der Maschine als Objekt zu erfassen. (...) Im Unterschied dazu wurde namentlich in der klassischen deutschen Philosophie der Konstruktionsgedanke in ganz anderer Weise ausgebildet. Insbesondere Fichte vollzog einen Paradigmawechsel, indem er die Konstruktion zur universellen Fähigkeit der Begriffsbildung erhob. Wissen galt ihm als ideale "Nachkonstruktion" des Seins unter der Form des Wissens. Es verbindet sich damit der Wechsel vom ordnenden zu einem entwerfenden Weltverhältnis. Das Wissen erscheint nun als ein Werdendes. Im Herausarbeiten der theoretischen-begrifflichen Fassung des Wesens eines Gegenstandes manifestiert sich der entwerfende, tätige Charakter des Subjektes. Der Artikel verfolgt zum einen Aspekte der philosophischen und zum anderen der technischen Entwicklung. The concept of construction underwent significant changes under the influence of technical advances and socio-cultural changes, especially in the 19th century. With its seemingly obvious use, the question of its field of meaning arises: Is construction a process that focuses on design, the presentation of the external shape of the object to be produced, or are significantly more aspects implied in it? In the 17th/18th In the 19th century, construction was associated with the concept of machine and supported by the claim to grasp the closed whole of the machine as an object. In contrast to this, the idea of ​​construction was developed in a completely different way, especially in classical German philosophy. Fichte in particular carried out a paradigm shift by elevating construction to the universal ability of concept formation. Knowledge was for him the ideal "reconstruction" of being under the form of knowledge. This is linked to the change from an ordering to a designing world relationship. Knowledge now appears as something in the making. The drafting, active character of the subject manifests itself in the working out of the theoretical-conceptual version of the essence of an object. The article follows aspects of philosophical and technical development on the one hand. (shrink)

This article explores the evolution of human attention, focusing particularly on the phylogenetic and ontogenetic implications of the work of the American social psychiatrist Trigant Burrow. Attentional development is linked to the emergence of visual perspective, and this, in turn, is related to Burrow's notion of `ditention' (divided or partitive attention). Burrow's distinction between `ditention' and `cotention' (total organismic awareness) is examined, and, expanding on this, a threefold pattern of perceptual change is identified: prototention-->ditention-->cotention. Next, ditentive visual perspective is related (...) to binocular convergence, and the author makes use of the perspectivally ambiguous, `non-convergent' Gestalt figure known as the Necker Cube to illustrate cotention. The paper concludes by proposing that the shift from the currently pervasive ditentive pattern of awareness to a cotentive mode could have a salutary effect on human society. (shrink)

This article extends Aron Gurwitsch’s ( 1964 ) central insight about the field of consciousness—that it is always organized in a theme, thematic field, margin pattern—to the human capacity for reverence. It offers an original phenomenology of reverent awe, inspired by Gurwitsch’s work, as an articulation of reverential index and reverential attitude. According to Paul Woodruff ( 2014 ) in Reverence: Renewing a Forgotten Virtue, reverence names those times when we become aware of something larger than human and simultaneously our (...) human limitations. By bridging the concepts of reverence from Woodruff and relevancy from Gurwitsch, this study shows that in reverent awe the emphasis in consciousness shifts to the edge of relevancy, the zones farthest removed from the theme, as the “indefinite continuation of context,” “order of existence,” or what Gurwitsch also calls an “inarticulate mass”. Reverent awe is clarified phenomenologically as an emphasis in consciousness between the theme and the order of existence as indefinite continuation of thematic context, maintaining a specific relevancy-principle (a Gestalt-connection) between the theme and the order of existence. In a reverential attitude with a reverential index we become aware more immediately of an order of existence and we become aware of our place in the order of existence. (shrink)

There is a complexity of entities and happenings embodied within the pillars that frame the doorways in our homes and support the broad flat spaces that form supermarkets and department stores. Each pillar speaks to the mythology encircling the origins of Gothic architecture; the ideas surrounding the shift from the trunks and boughs of the sacred grove toward the columns, arches, and vaults of church and cathedral. Each pillar embodies the evolution of life and the history of the Earth. (...) Awakening toward the relational agency at play within the “humanly derived” allows us to recognize this agency as akin to wildness and as William Cronon asserts, this kinship draws us closer to recognizing and responding to the wild in all that surrounds us. It also produces a shift in how we understand the concept of wilderness. It is not, as Cronon contends, a cultural construct, but a fluxing and complex gestalt that includes both human and more-than-human agency. (shrink)

There is a complexity of entities and happenings embodied within the pillars that frame the doorways in our homes and support the broad flat spaces that form supermarkets and department stores. Each pillar speaks to the mythology encircling the origins of Gothic architecture; the ideas surrounding the shift from the trunks and boughs of the sacred grove toward the columns, arches, and vaults of church and cathedral. Each pillar embodies the evolution of life and the history of the Earth. (...) Awakening toward the relational agency at play within the “humanly derived” allows us to recognize this agency as akin to wildness and as William Cronon asserts, this kinship draws us closer to recognizing and responding to the wild in all that surrounds us. It also produces a shift in how we understand the concept of wilderness. It is not, as Cronon contends, a cultural construct, but a fluxing and complex gestalt that includes both human and more-than-human agency. (shrink)

This chapter contains sections titled: References and Further Reading.

Theories of phenomenal intentionality have been claimed to resolve certain worries about the indeterminacy of mental content that rival, externalist theories face. Thus far, however, such claims have been largely programmatic. This paper aims to improve on prior arguments in favor of phenomenal intentionality by using attention and Gestalt principles as specific examples of factors that influence the phenomenal character of perceptual experience in ways that thereby help determine perceptual content. Some reasons are then offered for rejecting an alternative (...) interpretation of these examples, according to which the phenomenal effects of attention and Gestalt principles play no role in the determination of perceptual content. (shrink)

Phenomenal holism is the thesis that some phenomenal characters can only be instantiated by experiences that are parts of certain wholes. The first aim of this paper is to defend phenomenal holism. I argue, moreover, that there are complex intellectual experiences (intellectual gestalts)—such as experiences of grasping a proof—whose parts instantiate holistic phenomenal characters. Proponents of cognitive phenomenology believe that some phenomenal characters can only be instantiated by experiences that are not purely sensory. The second aim of this paper is (...) to defend cognitive phenomenology. I argue that reflection on intellectual gestalts provides a basis for developing a case for cognitive phenomenology that is immune to many of the worries that beset more familiar arguments for cognitive phenomenology. (shrink)

The Gestalt psychologists adopted a set of positions on mind-body issues that seem like an odd mix. They sought to combine a version of naturalism and physiological reductionism with an insistence on the reality of the phenomenal and the attribution of meanings to objects as natural characteristics. After reviewing basic positions in contemporary philosophy of mind, we examine the Gestalt position, characterizing it m terms of phenomenal realism and programmatic reductionism. We then distinguish Gestalt philosophy of mind (...) from instrumentalism and computational functionalism, and examine Gestalt attributions of meaning and value to perceived objects. Finally, we consider a metatheoretical moral from Gestalt theory, which commends the search for commensurate description of mental phenomena and their physiological counterparts. (shrink)

In his 1935 book Principles of Gestalt Psychology, Kurt Koffka stated that empirical research in perceptual psychology should begin with “a phenomenological analysis,” which in turn would put constraints on the “true theory.” In this paper, I take this statement as a point of departure to investigate in what sense Gestalt psychologists practiced a phenomenological analysis and how they saw it related to theory construction. I will contextualize the perceptual research in Gestalt psychology vis-a-vis Husserlian phenomenology on (...) the one hand and mainstream psychophysics on the other, and I will argue that Gestalt psychologists practiced a form of “frontloading” phenomenology: Instead of requiring experimental subjects to engage in experiential reflections, such reflections were—in a sense—already engrained in the experimental designs used by researchers. This type of phenomenology was decidedly anti-“introspectionist” and as such was compatible with some of Husserl’s basic commitments, while at the same time bearing a surprising resemblance with the methods employed by psychophysicists like E. Boring and S.S. Stevens. This latter point will prompt me to explore what the difference between Gestalt-psychology and psychophysics amounted to. My analysis will reveal some disagreements and misunderstandings, especially with regard to the notions of isomorphism and introspection. (shrink)

Several strands of contemporary cognitive science and its philosophy have emerged in recent decades that emphasize the role of action in cognition, resting their explanations on the embodiment of cognitive agents, and their embedding in richly structured environments. Despite their growing influence, many foundational questions remain unresolved or underexplored for this cluster of proposals, especially questions of how they can be extended beyond straightforwardly visuomotor cognitive capacities, and what constraints the commitment of embodiment places on the ontology of explanations. This (...) special issue aims to contribute to these foundational debates by drawing on important precursors to embodied cognition in mid-twentieth century gestalt psychology, its immediate successor ecological psychology, and their dialectical counterpart, phenomenology. Gestalt psychologists and phenomenologists wrestled with many of the same foundational questions that still haunt us today, in a manner that seems refreshing in hindsight, and poised to contribute constructively to contemporary debate. Looking back on this history reveals deep commonalities across competing embodied approaches, exposing fundamental tensions that remain unresolved, but also paving the way to a more ecumenical and conciliatory embodied cognitive science. (shrink)

A serious crisis is identified in theories of neurocomputation, marked by a persistent disparity between the phenomenological or experiential account of visual perception and the neurophysiological level of description of the visual system. In particular, conventional concepts of neural processing offer no explanation for the holistic global aspects of perception identified by Gestalt theory. The problem is paradigmatic and can be traced to contemporary concepts of the functional role of the neural cell, known as the Neuron Doctrine. In the (...) absence of an alternative neurophysiologically plausible model, I propose a perceptual modeling approach, to model the percept as experienced subjectively, rather than modeling the objective neurophysiological state of the visual system that supposedly subserves that experience. A Gestalt Bubble model is presented to demonstrate how the elusive Gestalt principles of emergence, reification, and invariance can be expressed in a quantitative model of the subjective experience of visual consciousness. That model in turn reveals a unique computational strategy underlying visual processing, which is unlike any algorithm devised by man, and certainly unlike the atomistic feed-forward model of neurocomputation offered by the Neuron Doctrine paradigm. The perceptual modeling approach reveals the primary function of perception as that of generating a fully spatial virtual-reality replica of the external world in an internal representation. The common objections to this picture-in-the-head concept of perceptual representation are shown to be ill founded. Key Words: brain-anchored; Cartesian theatre; consciousness; emergence; extrinsic constraints; filling-in; Gestalt; homunculus; indirect realism; intrinsic constraints; invariance; isomorphism; multistability; objective phenomenology; perceptual modeling; perspective; phenomenology; psychophysical parallelism; psychophysical postulate; qualia; reification; representationalism; structural coherence. (shrink)

Formal methods developed for modeling levels of selection problems have recently been applied to the investigation of major evolutionary transitions. We discuss two new tools of this kind. First, the ‘near-variant test’ can be used to compare the causal adequacy of predictively equivalent representations. Second, ‘state-variable gestalt-switching’ can be used to gain a useful dual perspective on evolutionary processes that involve both higher and lower level populations.

The Austrian philosopher Christian von Ehrenfels published his essay "On 'Gestalt Qualities'" in 1890. The essay initiated a current of thought which enjoyed a powerful position in the philosophy and psychology of the first half of this century and has more recently enjoyed a minor resurgence of interest in the area of cognitive science, above all in criticisms of the so-called 'strong programme' in artificial intelligence. The theory of Gestalt is of course associated most specifically with psychologists of (...) the Berlin school such as Max Wertheimer, Wolfgang Kohler and Kurt Koffka. We shall see in what follows, however, that an adequate philosophical understanding of the Gestalt idea and of Ehrenfels' achievement will require a close examination not merely of the work of the Berlin school but also of a much wider tradition in Austrian and German philosophy in general. (shrink)

Previous studies making use of indirect processing measures have shown that perceptual grouping can occur outside the focus of attention. However, no previous study has examined the possibility of subliminal processing of perceptual grouping. The present work steps forward in the study of perceptual organization, reporting direct evidence of subliminal processing of Gestalt patterns. In two masked priming experiments, Gestalt patterns grouped by proximity or similarity that induced either a horizontal or vertical global orientation of the stimuli were (...) presented as masked primes and followed by visible targets that could be congruent or incongruent with the orientation of the primes. The results showed a reliable priming effect in the complete absence of prime awareness for both proximity and similarity grouping principles. These findings suggest that a phenomenal report of the Gestalt pattern is not mandatory to observe an effect on the response based on the global properties of Gestalt stimuli. (shrink)

In his ontological works Kurt Grelling tries to give a rigorous analysis of the foundations of the so-called Gestalt-psychology. Gestalten are peculiar emergent qualities, ontologically dependent on their foundations, but nonetheless non reducible to them. Grelling shows that this concept, as used in psychology and ontology, is often ambiguous. He distinguishes two important meanings in which the word “Gestalt” is used: Gestalten as structural aspects available to transposition and Gestalten as causally self-regulating wholes. Gestalten in the first meaning (...) are, according to Grelling, “equivalence classes of correspondences”, while Gestalten as self-regulating wholes have more to do with relations of ontological dependence. Grelling’s clarification of the concept of Gestalt is doubtless an excellent piece of philosophical analysis, but at the end of the day it turns out that his analysis captures at best only a part of intuitions traditionally connected with the notion of Gestalt. (shrink)

Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely (...) observed, which raises the question: do gestalt effects make it plausible that we perceive high-level aesthetic properties? Contra Stokes, this paper argues that they don’t. This is interesting in its own right, but it also points to a more general lesson, namely we should resist the temptation to appeal to gestalt effects to argue for high-level perception. (shrink)

The theory of Gestalt qualities arose from the attempt to explain how a melody is distinct from the collection of the tones which it comprehends. In this essay from 1890 Christian von Ehrenfels coined the term 'Gestaltqualität' to capture the idea of a pattern which is comprehensible in a single experience. This idea can be applied not only to melodies and other occurrent patterns, but also to continuant patterns such as shapes and colour arrays such as the array of (...) a chess board. Ehrenfel's essay gave birth to the Gestalt movement in psychology. (shrink)

In the present article, the role of Gestalt concepts in clarifying the issues of perception is evaluated. Grounded in anti-atomism, Gestalt assumed organizing forces intrinsic to perception. Insofar these were identified with singularity preference, Gestalt is criticized for having failed to distinguish between perception and thought.