We present an investigation into the relation between design princi- ples in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify figure-ground segmentation, while (...) seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal com- parison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

Human society is unique in the animal kingdom in the degree to which it depends upon its members reflective awareness of self and society. Whereas much has been learned about the sense of self, little is known about the sense of society. This paper develops three points about the human sense of society: First, this sense is a feeling of life, what German writers have called Lebensgefuhl. The paper begins by defining feeling as a psychical moment or‘phase’of bodily activity. The (...) paper later develops die idea mat what is felt of society is always an embodiment of its vital form; its social life. Second, die sense of society is a feeling of society, as distinct from a feeling in society and from a feeling of self. The middle third of die paper distinguishes these concepts and links die feeling of society to writings of Freud and Durkheim in which elements of this feeling are found. And third, feelings of society prominently include participation, love, and play. These feelings, which are embodiments of vital social form, are illustrated and discussed in die penultimate section of die paper. Having registered these three points, die paper concludes with a brief summary and discussion of implications for expanding die scope of inquiry in social science. (shrink)

The concern of this article is to establish the difference between physiognomy and expression as it may be understood phenomenologically. The work of Merleau-Ponty founds the phenomenological appreciation of physiognomy, and Gestalt psychological studies on perceptual organization elaborate the specifics of physiognomic structure despite the naturalist assumptions of that school of psychology. Physiognomy is the organized structural specification of expression in the phenomenon that presents itself. This view is an alternative to conventional topical but nonthematic considerations on physiognomy . Art (...) therapy with its use of various media is a venue in which the physiognomy of clients' art products is a display of integralness or pathology. It is an immediate access to the world of the patient. The work of the Gestalt psychologist Rudolf Arnheim and of the art therapist Mala Betensky are associated with the phenomenology of Merleau-Ponty in order to advance understanding of the significance of physiognomy in experience, in behavior, and in art therapy. (shrink)