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)

Tertiary qualities have been studied primarily by Gestalt psychologists. My aim in this article is to revisit the theoretical assumptions regarding tertiary qualities. I start from the Galilean distinction of the qualities of experience, the Lockean subdivision of qualities, the subjectivist definition in aesthetics and the theoretical contribution of Gestalt theory, to show the theoretical value of ‘tertiary qualities’ in the current context of experimental psychological research. I conclude that tertiary qualities are (...) a crucial keyword for an experimental psychology based on the primacy of perception. Such a perspective is in favour of a neo-Gestalt Experimental Phenomenology. (shrink)

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)

The term ‘Gestalt’ was introduced into psychology by the Austrian philosopher Christian von Ehrenfels in an essay entitled “On ‘Gestalt-Qualities’” published in 1890. ‘Gestalt,’ in colloquial German, means roughly: ‘shape’ or ‘structure’ or ‘configuration’, and Ehrenfels demonstrates in his essay that there are certain inherently structural features of experience which need to be acknowledged in addition to simple tones, colours and other mental ‘atoms’ or ‘elements’. His essay thus initiated a reaction against the then still dominant (...) atomism in psychology, a reaction which culminated in the work on ‘cerebral intregation’ of the so-called Berlin school of Gestalt psychology. Max Wertheimer, one of the leading members of this school, was a student of Ehrenfels in Prague. Ehrenfels himself belonged to an impressive list of original thinkers – a list which includes also Edmund Husserl, Alexius Meinong and Carl Stumpf, the founder of the Berlin school – who were students of Franz Brentano. Each of these thinkers attempted to elaborate, both ontologically and psychologically, the doctrine of intentionality put forward by Brentano. The work of Ehrenfels and of the later Gestaltists, too, may be seen as a contribution to the understanding of this mental directedness, and in particular to the understanding of the directedness of perceptual experience. (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)

In 1890 Christian von Ehrenfels published his classic paper "Über 'Gestaltqualitäten'", the first systematic investigation of the philosophy and psychology of Gestalt. Ehrenfels thereby issued an important challenge to the psychological atomism that was still predominant in his day. His paper not only exerted a powerful influence on the philosophy of the Meinong school, it also marked the beginning of the Gestalt tradition in psychology, later associated with the work of Wertheimer, Köhler and Koffka in Berlin. Includes papers (...) by C. Von Ehrenfels, Kurt Grelling and Paul Oppenheim and contributions by K. Mulligan, P.M. Simons and Barry Smith. (shrink)

The distinctive claim of the Gestalt psychologists (of Prague, Graz, Berlin, Leipzig, and Vienna) is that we are typically aware of wholes which have “Gestalt qualities”, such as being a melody, and that these qualities could not be properties of mere sums, for example of sums of tones. A common, stronger claim is that the wholes we are aware of are themselves “Gestalten”, the parts of which are inseparable from each other and from the wholes they (...) belong to. The Gestalt psychologists took themselves to be opposing associationistic and atomistic assumptions in psychology. The notion of a Gestalt is applied primarily in their accounts of perception and to a much lesser extent in their accounts of feelings (Gefühle), aesthetic and non-aesthetic, of their objects, of our awareness of the feelings of others, of our attributions of emotions, of our grasp of value and of the relations between affective phenomena and perception. (shrink)

In this article I connect two concepts that played central roles in the School of Meinong: the notion of impossible objects and that of Gestalt. Ehrenfels claims that Widerspruch or incompatibility would be a temporal Gestalt quality, specifically the trying and failing to build an intuitive presentation. Where, when, and how does this process break down exactly? Meinong’s Graz students developed a more detailed production theory for the presentation of Gestalten (Vorstellungsproduktion) which can help to determine how the (...) failure to produce one Gestalt can generate another, which moreover is typical of impossible objects. There are three contributions to Meinong’s 1904 volume Untersuchungen zur Gegenstandstheorie und Psychologie, the ones by Mally, Benussi, and Ameseder, that provide helpful analyses to clarify the incompatibility Gestalt. These suggest three options to refine the analysis of the Gestalt of impossible objects. The conclusion is that the failure of the Vorstellungsproduktion itself is not enough, the incompatibility relation between the foundations must also play a role. (shrink)

We present select examples of how visual phenomena can serve as tools to uncoverbrain mechanisms. Specifically, receptive field organization is proposed as a Gestalt-like neural mechanism of perceptual organization. Appropriate phenomena, such as brightness and orientation contrast, subjective contours, filling-in, and aperture-viewed motion, allow for a quantitative comparison between receptive fields and their psychophysical counterparts, perceptive fields. Phenomenology might thus be extended from the study of perceptual qualities to their transphenomenal substrates, including memory functions. In conclusion, classic issues (...) of Gestalt psychology can now be related to modern. (shrink)

Ernst Mach's atomistic theory of sensation faces problems in doing justice to our ability to perceive and remember complex phenomena such as melodies and shapes. Christian von Ehrenfels attempted to solve these problems with his theory of "Gestalt qualities", which he sees as entities depending one-sidedly on the corresponding simple objects of sensation. We explore the theory of dependence relations advanced by Ehrenfels and show how it relates to the views on the objects of perception advanced by Husserl (...) and by the Gestalt psychologists. (shrink)

In the second edition of the Logische Untersuchungen Husserl claims to have investigated higher order objects and Gestalt qualities before anyone else in the School of Brentano. Indeed, in the Philosophie der Arithmetik we find a discussion of figural moments and fusion that could lend some support to such a claim. By considering the concepts of Gestalt and Verschmelzung in their relevant historical context, the latter especially in connection to Stumpf, we find that Husserl indeed gave a (...) quite original and interesting account of such higher order phenomena. (shrink)

The ecological realist concept of information as environmental specification is discussed. It is argued that affordances in ecological realism could, in principle, rest on a notion of partial specification of environmental circumstances. For this aim, a notion of Gestalt quality as a hierarchical structure of affordances would have to be adopted. It is claimed that such an account could provide a promising way to deal with problems of intentionality in perception and action, awareness and problem solving.

Although it is beyond doubt that there were historical connections between Whitehead and some of the proponents of Gestalt psychology, it is difficult to determine on the available body of historical evidence whether they were substantive or just marginal. A detailed comparison of Whitehead's process metaphysics and the theories of Gestalt psychology is a task yet to be undertaken. Whitehead's process philosophy and Gestalt psychology share basic similarities in their major principles. This is substantiated by two of (...) Ehrenfels'well-known gestalt qualities: superadditivity, and figure-ground relation. Both approaches can profit from one another: while Whitehead's concept of consciousness and its interrelatedness with unconscious processes seems to be more elaborate, the Gestalt psychological approach, on the other hand, shows how these topics can be investigated by using experimental research designs. This is illustrated by an experiment on complex problem solving which demonstrates that unreportable hints can improve even such sophisticated processes as complex problem solving. Since this is what should be expected from a Whiteheadian point of view, the results empirically confirm the process position on perception and thinking. Finally, further interesting possibilities of undertaking future empirical process research are outlined. (shrink)

XVI Psychologists have, however, shown that what we are primarily aware of is not a succession of sense-data but figures-ground phenomena: Wittgenstein's ambiguous duck-rabbit is merely one such example. They have also drawn our attention to the existence of tertiary qualities in perception, such as 'symmetry' and 'elegance' which are just as directly given as are the perceived colours red, green or yellow. It is interesting to note that Merleau-Ponty has made considerable use of Gestalt ideas in his (...) Phenomenology of Perception. One of the commonest reasons given by linguistic philosophers for not making direct use of the results of psychological research (although philosophers are usually willing to accept the first-hand results of physical science) is that philosophical accounts of perception and thinking are concerned with analysing the language in which these reports are made; that is to say, they are second-order enquiries. Often this approach is still more restricted and ordinary linguistic usage is taken as the yardstick against which questions relating to thought and perception are to be measured. The task of the philosopher is then con fined to the analysis of ordinary language. If he is more adventurous, as some writers on philosophical psychology are, he might go on to show how far the language used by psychological researchers falls short of the paradigms of common sense. (shrink)

Gernot Böhme’s original proposal regarding an aesthetic as a philosophic theory of perceptual knowledge could, in our opinion, be usefully compared with certain aspects, historical-theoretical and methodological, of Gestalt psychology. From an historical point of view there is the attention commonly paid to the work of the 18th-century philosopher, Alexander Gottlieb Baumgarten, considered as an important precursor of the study of sensitive knowledge, while the subsequent basic themes of the perceptual-cognitive approach, of the expressive qualities, of the distinction (...) “physical reality /actual reality,” of the physiognomic problem, to cite but a few, recall nuclear questions, although perhaps not traditionally included in the “major canon”—to use a terminological proposal of Rocco Ronchi’s—of philosophy and specifically of experimental phenomenology. (shrink)

Summary Several subdisciplines within historiography, most notably the arms and armour or martial arts studies, are interested in inferring physical qualities of historical material objects from historical sources. Scholars from these fields face serious deficiency of written accounts when it comes to various crucial information regarding their subject matter. Therefore, researchers’ attention is often drawn to iconographical sources, sometimes resulting in certain fascination with the material culture depicted in primary technical literature (Fachliteratur). This tendency seems particularly strong in studies (...) on HEMA which rely heavily on pre-modern combat treatises known as ‘fight books’ (Fechtbücher) and are tempted either to treat the available iconography as a faithful representation of its corresponding material reality or to interpret apparent mismatch between icono-graphical representations and their material source domain as evidence for the inferior skills of the illustrator. We would like to put forward that there is a fundamental oversight in such approach to Fachliteratur in general and fight books in particular, namely the lack of consideration for the artwork as a diagrammatic representation of the functional aspects of depicted embodied technique, where proportional ‘realism’ is of lesser priority. It may be fruitful to develop a more nuanced method of ‘reading’ such images. Our survey of select late-medieval fight books shows that equipment, and even body parts, are regularly distorted in their depictions in the fight books to better communicate the subject matter, especially where textual descriptions would be complicated. Interpreted in Gestalt terms, this phenomenon may serve as an example of historical pragmatic application of the cognitive principle of holism – that the whole is something different than the sum of its parts. (shrink)

Summary Landscape planning lacked an evidence-based method for the reflection of planning models on the imaginary level in order to present the image content and the relationships in the image as the basis for interpretation in a verifiable manner. The contribution is based on the thesis that the perceptual analysis according to Rudolf Arnheim can be translated into landscape planning. The case study, here an illustration with two plan sketches for urban and landscape development, is described and interpreted with the (...) Gestalt theoretical perceptual analysis according to the criteria theme, theses, principle sketches and composition lines, interpretation, conclusion and Gestalt theoretical results. The analysed planning sketches have a low “reality level” and are part of the imaginary level. The theory of science contained therein can be understood by Gestalt theory as elementary theory of design. In the sketches, the living spaces and economic areas of the city are divided into the elements ‘settlement’ and ‘landscape’ and thereby undergo a revaluation of their significance. The replacement of figure (city) and ground (landscape) can be interpreted in terms of gestalt theory as a change of theme in the sketches as the greatest possible structural exchange. The results of the analysis are processed as research theses in the contextualisation of landscape planning and thus examined scientifically on the basis of circumstantial evidence against the reality of the living environments of the urban dwellers. The contribution proves that the perceptual analysis according to R. Arnheim is a suitable method in landscape planning for describing and interpreting graphic representations of planning models. Interdisciplinary cooperation is a contribution to the holistic treatment of a topic, because structuralist landscape planning has structural similarities with Gestalt theory and is committed to the dialogical principle. As a theory of organisation (development), Gestalt theory derives principles, structures, their relationships and qualities and is therefore suitable as a meta-theory of landscape planning to characterise the values and ethical bases in planning. This applies to all areas of the field of consciousness in landscape planning. (shrink)

Medical, scientific and societal progress has been such that, in a universalist humanist perspective such as the WHO’s, it has become an ethical imperative for the primary endpoints in evidence based health care research to be expressed in e.g. Quality Adjusted Life Years (QALYs). The classical endpoints of discrete health‐related functions and duration of survival are increasingly perceived as unacceptably reductionistic. The major problem in ‘felicitometrics’ is the measurement of the ‘quality’ term in QALYs. That the mental, physical and social (...) domains, each containing many dimensions and items, all contribute to QOL is uncontroversial. What is controversial, is the weight of the different dimensions in overall QOL. It has been shown to be very different between different patient populations. In human individuals, assuredly complex systems, the many dimensions and items of QOL observably interact, probably sometimes also in chaotic ways. In these conditions, the weights of isolated items in individuals become for all practical purposes meaningless. Therefore, the much used multi‐item questionnaires at best describe, but do not evaluate QOL, neither in individuals, nor in populations. For example, allergic patients treated with cetirizine scored better than those a placebo on all dimensions of the SF‐36, a standard QOL questionnaire. Here there is no serious doubt that the treatment improved QOL, because it is highly unlikely that any important dimension on which the patient groups would have scored otherwise is missing in the SF‐36. However, whether piracetam treatment of acute stroke, which improved the surrogate endpoints neurological and functional scores, also improved QOL is plausible, but will be proven only when comprehensive QOL measurement will have been done. And suppose in randomised populations of end‐stage metastatic solid cancer patients, one would compare palliative last‐line chemotherapy with only palliative care, and one would, as can be expected, find no significant differences in average survival, and chemotherapy superior for the mental domain, but inferior for the physical comfort domain: we would not know which treatment, on aggregate, would be the better. The problem is that QOL is an individual and emergent construct, the resultant of a great many intractions, and of a different order than its contributing components. Overall QOL can therefore best be captured only as the Gestalt of a global self‐assessment. Just as people in everyday life, while acting under uncertainty, make global assessments all the time, so they can seriously answer the serious question: ‘How have you been?’ A solemn, practical, non peer‐relativistic, non‐cultural, experiential, and well tolerated way to obtain such responses is Anamnestic Comparative Self Assessment (ACSA), in which the subjects' memories of the best and the worst times in their life experience define their individual scale of QOL. ACSA is thus both exquisitely idiosyncratic, and yet can in a universalist humanistic perspective be considered generic. Using both a multi‐item questionnaire and a global assessment allows by one logistic regression, to estimate the weights of the dimensions and items in populations, and thus identify those whose improvement would most contribute to the QOL of the greatest number. A combined approach to measurement of QOL is necessary to maximise the utility of QOL interventions. (shrink)

The paper proposes a reflection on mathematical beauty, considering the possibility of aesthetic qualities for formal language. Through a concise overview of the way this question is understood by some famous scientists and mathematicians, we turn our attention to Gian-Carlo Rota’s theoretical proposal: his reflections as a mathematician and philosopher offer a perspective, of phenomenological matrix, fruitful for looking at the question. Rota’s contribution allows us to focus on the role of competence, acquired through effort, sedimentation and habit of (...) repetition, in cultivating the potential to recognise the aesthetic quality of formal language. Finally, we draw on some contributions from Gestalt theory, closely connected to twentieth-century phenomenology for chronological and conceptual reasons, applying the idea of gestalt wholeness to the mathematical product and proposing some reflections that may help to clarify some of the dynamics underlying the attribution of qualities of beauty to formulas or the detection of its lack. (shrink)

Summary The present paper introduces the theoretical conceptualization of perceptual communication through expressive qualities. Initially, the difference with respect to the modality of perceptual communication mediated by signs is analyzed. Conversely, the theory of expressive qualities reflects the psychological conception of direct perception: any assumption of a cognitive stage of representation is excluded. Perceptual communication immediately expresses the specific character of the structural essence of the object. The structural essence is well studied by the perceptual paradigms of Experimental (...) Phenomenology. Plurivocity, the case in which the same objects can share many expressive characters, is also considered. (shrink)

Ernst Mach's atomistic theory of sensation faces problems in doing justice to our ability to perceive and remember complex phenomena such as melodies and shapes. Christian von Ehrenfels attempted to solve these problems with his theory of "Gestalt qualities", which he sees as entities depending one-sidedly on the corresponding simple objects of sensation. We explore the theory of dependence relations advanced by Ehrenfels and show how it relates to the views on the objects of perception advanced by Husserl (...) and by the Gestalt psychologists. (shrink)

The essay gives an account of the aesthetics of the Graz school, focusing on the standpoint of the object as well as on that of emotions. Meinong’s reflection on aesthetics stems from a psychological background and comes subsequently to an ontological grounding. After examining the notions of imagination, phantasy-representation, relation and complexion, I show how the theory of production of representations, as well as that of higher-order objects, develops under the impulse of Ehrenfels’ concept of Gestalt qualities; both (...) these theories may be applied to aesthetics in the explanation of artistic creation and of aesthetic objects. Meinong identifies the specific object of aesthetics with the “objective” and distinguishes aesthetic feelings, which are true feelings, from imaginary ones. Witasek develops a psychological aesthetics built on the conceptual framework of Meinongian philosophy: aesthetic properties are ideal and extra-objective, they connect the aesthetic object to the subject’s mental attitude; an aesthetic object is an object endowed with aesthetic properties, such as beauty, which depends on the degree of pleasure or displeasure the object may induce in the subject. Witasek, though, parts from Meinong on both the conception of aesthetic objects and of imaginary feelings. In the last sections, I review the reactions to Witasek’s aesthetics, both positive and negative, within the Graz school itself (in particular Schwarz’ and Saxinger’s ideas on phantasy-feelings, and Ameseder’s on value beauty), and I sketch Ehrenfels’ and Veber’s aesthetic views. (shrink)

The aim of this paper is to compare the theory of Gestalt qualities, introduced by the Austrian philosopher Christian von Ehrenfels (1859–1932), with the concept of Umwelt, proposed by Jakob von Uexküll (1864–1944). The primary basis for the comparison will be the phenomenology of Maurice Merleau-Ponty (1908–1961), who extensively discusses the two concepts in his work. In the Uexküll–Ehrenfelsian context, we focus on analysing the similarities and differences of their argumentation and model approaches to understanding the living and (...) non-living natural entities, their mutual communication, development, and ontological grounding. We also consider the role of individual experience with the environment: in that context, the metaphysical frameworks within which the two thinkers operate in their efforts to explain natural phenomena are central to our comparative reflections. (shrink)

In this paper I argue for a syncretistic theory of depiction, which combines the merits of the main paradigms which have hitherto faced themselves on this issue, namely the perceptualist and semioticist approaches. The syncretistic theory indeed takes from the former its stress on experiential factors and from the latter its stress on conventional factors. But the theory is even more syncretistic than this, for the way it accounts for the experiential factor vindicates several claims defended by different perceptualist theories. (...) In a nutshell, according to the syncretistic theory a picture depicts its subject iff i) it is transformed into an entity-cum-meaning and ii) one has the twofold experience of seeing that subject in the picture qua noninterpreted entity, the image, just in case one consciously misrecognizes it in consciously seeing that image, for that subject resembles the image in some grouping properties (originally labelled Gestalt-qualities in psychology). By appealing to objective resemblance in grouping properties, the theory can vindicate what are nowadays taken to be the most neglected doctrines in the perceptualist camp: objective resemblance theories. By appealing, moreover, to conscious misrecognition, the theory not only squares with both the seeing-in and the recognition theories of depiction, but it also shows the grain of truth in illusion theories of depiction, since conscious misrecognition is a kind of perceptual illusion. (shrink)

This paper is about the reception of Ernst Mach by Brentano and his students in Austria. I shall outline the main elements of this reception, starting with Brentano’s evaluation, in his lectures on positivism, of Mach’s theory of sensations. Secondly, I shall comment the early reception of Mach by Brentano’s pupils in Prague. The third part bears on the close relationship that Husserl established between his phenomenology and Mach’s descriptivism. I will then briefly examine Mach’s contribution to the controversy on (...) gestalt qualities. The fifth part bears on Stumpf’s debate with Mach on psychophysical relations and I shall conclude on Husserl’s criticism of Mach’s alleged logical psychologism. (shrink)

El presente artículo tiene como propósito criticar y reformular la teoría de valores del autor y filósofo argentino Risieri Frondizi. Para ello, se someterán a falsacionismo las tesis según las cuales la cualidad estructural es, primero, estructuralista y no analítica y, segundo, empírica, de acuerdo con la metodología holista de la ciencia. La crítica, así, se desarrollará a partir de los siguientes interrogantes. Inicialmente, ¿el autor acude al holismo o al reduccionismo como enfoques metodológicos de desarrollo? Finalmente, ¿cuál es la (...) distinción lógica entre el valor como cualidad sui géneris y el valor como cualidad estructural? (shrink)

In 1913, in a draft for a new Preface for the second edition of the Logical Investigations, Edmund Husserl reveals to his readers that "The source of all my studies and the first source of my epistemological difficul­ties lies in my first works on the philosophy of arithmetic and mathematics in general", i.e. his Habilitationsschrift and the Philosophy of Arithmetic: "I carefully studied the consciousness constituting the amount, first the collec­tive consciousness (consciousness of quantity, of multiplicity) in its simplest and (...) higher levels (consciousness of sums, sums of sums etc.). I immediately separated proper (intuitive) and symbolic consciousness, in the characteriza­tion of the former I hit the radical difference of categorial consciousness [...] and sensuous consciousness of unity." Later on, in the Third Investigation, Husserl makes some very specific claims, that are of considerable importance to assess the development of his early works and their relation to his later phenomenology: "This first work of mine (an elaboration of my Habilitationsschrift, [...], 1887) should be compared with all assertions of the present work on compounds, moments of unity, complexes, wholes and objects of higher order. I am sorry that in many recent treatments of the doctrine of "Gestalt-qualities", this work has mostly been ignored, though quite a lot of the thought-content of later treatments by Cornelius, Meinong etc., of questions of analysis, apprehension of plurality and complexion is already to be found, differently expressed, in my Philosophy of Arithmetic. I think it would still be of use today to consult this work on the phenomenological and ontological issues in question, especially since it is the first work that attached importance to acts and objects of higher order and investigated them thoroughly." Hence, at the time of the Ideas, Husserl retrospectively considers his first works4 as being still relevant for phenomenological issues. Not only does Husserl advance a very interesting priority claim with respect to Von Ehrenfels’ development of the notion of Gestalt and Meinong’s development of Gegenstandstheorie, but also a strong affirmation of continuity and coherence of his position from 1887 all the way up to 1913, encompassing the alleged “revolution” in his position from psychologism to anti-psycho­logism in the 1890s. Indeed, according to much of the recent secondary literature, in 1894, right in the middle of the ten “incubation” years between the Philosophy of Arithmetic and the Logical Investigations, Frege’s destruc­tive review would have converted Husserl to antipsychologism practically overnight. This gives us two conflicting interpretations: on the one hand, Husserl himself in 1913 still seems to approve of the Philosophy of Arithmetic and even considers it to contain valuable phenomenological material, on the other, it is routinely dismissed by much of the secondary literature as hope­lessly psychologistic. So which one is it: do we have a phenomenological arithmetic or a psychologistic arithmetic in Husserl’s first book? On balance, I think that Husserl in his Philosophy of Arithmetic developed a position that does not fall prey to the exaggerated and poorly aimed critiques of Frege, while at the same time, as a descriptive psychology of the genesis and constitution of number, it can certainly be considered as providing phenome­nologically meaningful analyses, though of course not made from within an explicitly transcendental phenomenological framework. (shrink)

Summary In this article the ethical systems of Risieri Frondizi and Maurice Mandelbaum, both decisively influenced by Wolfgang Köhler, are investigated for the first time. Each writer took different things from Köhler, Frondizi the idea of value as a Gestalt quality and Mandelbaum the idea of value as a felt demand. Their positions are highly complementary and Frondizi’s axiological approach enlightens the ontology of value whereas Mandelbaum’s phenomenological approach clarifies the nature of “requiredness” (Köhler) or “fittingness.”.

Ernst Mach's atomistic theory of sensation faces problems in doing justice to our ability to perceive and remember complex phenomena such as melodies and shapes. Christian von Ehrenfels attempted to solve these problems with his theory of "Gestalt qualities", which he sees as entities depending one-sidedly on the corresponding simple objects of sensation. We explore the theory of dependence relations advanced by Ehrenfels and show how it relates to the views on the objects of perception advanced by Husserl (...) and by the Gestalt psychologists. (shrink)

Rhythm should be regarded as a perceptional category rather than as a property of the work of art. Rhythm might be classified according to three principles, serial rhythm, sequential rhythm and dynamic rhythm, three basic sets of gestalt qualities that lay the foundation for versification systems.Two schemas decide the rhythm of a poem: direction and balance. ‘Direction’ refers to rising and falling movements in the line. ‘Balance’ refers to repetitions in a play between symmetry and asymmetry as well (...) as a moment of rest.Rhythms produce meaning, probably due to the fact that rhythms activate internalized bodily experiences as well as conventional meaning patterns. This is demonstrated on the basis of a poem by Sylvia Plath. (shrink)

This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while (...) perceiving expression is sometimes about reading minds, it is more squarely about perceiving solicitations or closures for action. Second, I frame expressions as a subcategory of Gibson’s affordances. This includes those showing up through context, in turn suggesting Kuleshov-like scenarios are not mere perceptual tricks. Third, I maintain that situations—with or without other human beings—have action-motivating expressive qualities or what Gestalt theorists called physiognomic characters, following Werner. These likewise emerge through ecological relations, and are very much like affordances and in the world as much as them. With resemblance theories, my account agrees that we perceive expression in the world. However, it indicates a broad range of cases in which expression shows up as consequences of overall situations that solicit or close actions, as opposed to mere resemblance between entities and human expressions. (shrink)

In a fluent, easy-to-read style, Frondizi presents a useful, elementary analysis of the nature of value; the basic problems of value theory; an historical survey of the various solutions to these problems; and finally, his own theory concerning the answers to these issues. The basic problem of axiology is exposed by the author as the dilemma between subjectivism and objectivism. It is in this frame of reference that the views of R. B. Perry, Wittgenstein, Carnap, Ayer, and Russell are briefly (...) outlined as examples of subjectivist doctrines. The material apriorism of Max Scheler is described in detail as illustrative of objectivism. Because the theories of Scheler are not too well-known among English-speaking philosophers, the exposition of his doctrines by Frondizi in this text are particularly useful and interesting. Between the Scylla of 'de gustibus non est disputandum' and the Charybdis of absolute standards of value Frondizi asserts the theory that "value is a Gestalt quality, the synthesis of objective and subjective contribution, and which exists and has meaning only in concrete human situations." Value is viewed as open-ended--able to be "furthered by the constant exercise of man's imagination, intelligence and action." Although it may be an open question as to whether the notion of Gestalt somehow resolves basic problems in axiology, it is, nevertheless, interesting to consider Frondizi's account. The book is also useful for its inclusion of a bibliography at the end of each chapter.--S. C. (shrink)

Mandelbaum adopted a middle course between physicalistic scientific realism and phenomenalistic "ordinary language" direct realism. He affirmed the relevance of scientific knowledge for epistemology, but did not attempt to reduce the content of perception to physical properties. Rather, he developed a critical direct realism, according to which we see bodies by means of having phenomenal experience. This phenomenal experience was not, however, to be equated with the sense-data of the usual representative realism. Rather, it was a perception of material objects (...) by means of their qualities. In this way, he agreed with the phenomenological position of the Gestalt psychologist Wolfgang Koehler, who rejected the view that sense-data by themselves could provide an epistemic basis for knowledge claims. Koehler's position, too, may be described as a critical realism. As would Mandelbaum, he sought to give proper due to the phenomenal while also affirming its basis in a physical world of objects and brain processes. In its insistence on the reality and scientific respectability of the phenomenal, the critical realism of Mandelbaum and Koehler is distinct from the contemporaneous physicalism of Place and Smart. (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 understand responsible leadership as a social-relational and ethical phenomenon, which occurs in social processes of interaction. While the prevailing leadership literature has for the most part focussed on the relationship between leaders and followers in the organization and defined followers as subordinates, we show in this article that leadership takes place in interaction with a multitude of followers as stakeholders inside and outside the corporation. Using an ethical lens, we discuss leadership responsibilities in a stakeholder society, thereby following Bass (...) and Steidelmeier’s suggestion to discuss “leadership in the context of contemporary stakeholder theory” (1999: 200). Moreover, from a relational and stakeholder perspective we approach the questions: What is responsible leadership? What makes a responsible leader? What qualities are needed? Finally, we propose a so-called “roles model” of responsible leadership, which gives a gestalt to a responsible leader and describes the different roles he or she takes in leading stakeholders and business in society. (shrink)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature (...) of the relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

Die Untersuchung gliedert sich in einen allgemeinen und einen besonderen Teil. Der allgemeine Teil, der die ersten neun Kapitel umfasst, hat es mit den Veränderungen zu tun, denen die Funktion des Kunstwerkes in seiner technisch reproduzierten Gestalt unterworfen ist. Die Qualität seiner technischen Reproduktion und die Geschwindigkeit ihrer Herstellung sind seit den einschlägigen Erfindungen des letzten Jahrhunderts in schnellem Wachstum begriffen. Die Zeit, die zwischen der Erfindung der Lithographie und der des Tonfilms liegt, umfasst kaum mehr Jahrzehnte als die (...) zwischen der Erfindung des Holzschnitts und der der Lithographie liegenden Jahrhunderte. Der Film ist die derzeit fortgeschrittenste künstlerische R ‘produktionstechnik. Er bedeutet in der Geschichte der Kunst etwas grundlegend Neues, nämlich die Reproduktion eines auf Reproduzierbarkeit angelegten Kunstwerkes. Der besondere Teil der Untersuchung hat es mit dem Film als der der Kunst in der Epoche ihrer technischen Reproduzierbarkeit spezifischen Form zu tun.Das erste Kapitel der Untersuchung entwickelt den Unterschied zwischen manueller und technischer Reproduktion des Kunstwerkes. Das zweite* umschreibt den jeder Reproduktion entzogenen Bereich der Echtheit, der die Aura des Kunstwerkes bildet. Das dritte bestimmt den Charakter der gegenwärtigen Wahrnehmung als bestimmt durch den Verfall der Aura. Das vierte weist die Fundierung der Echtheit in den Zusammenhängen des Rituals auf. Das fünfte hat es mit dem Unterschied des auf dem Ritual beruhenden Kultwertes des Kunstwerks von seinem Ausstellungwert zu tun. Das sechste zeigt, welchen verschiedenen Entwicklungsstufen der Technik Kultwert und Ausstellungswert des Kunstwerkes entsprechen. Das s'ebte handelt von dem beginnenden Übergewicht des Ausstellungswertes über den Kultwert in der Photographie. Das achte beleuchtet die Sonderstellung der griechischen Kunst durch ihren fast völligen Mangel an technischen Reproduktionsverfahren. Das neunte weist auf die Schwierigkeiten hin, die der überkommenen Aesthetik durch die Photographie und den Film erwachsen.Der zweite Teil der Untersuchung zieht aus den Analysen des ersten Teils die Folgerungen für die Filmtheorie. Er beschäftigt sich mit den Umständen, die aus dem Film dasjenige Kunstwerk machen, an dem die derzeitige Funktionsänderung sich am deutlichsten abnehmen lässt. Diese Funktionsänderung besteht in der Überführung des Kunstwerkes aus der ritualen in die politische Praxis.The investigation is divided into two parts, the first conceived on general lines and the second dealing with one specific aspect of the question. The general part deals with the changes to which the function of a work of art is subjected in its technically reproduced form. The quality of its technical reproduction and the speed with which the same is established have made great progress since the inventions of last century in that sphere. The period of time existing between the invention of lithography and that of the sound film contains scarcely more decades than there are centuries between the invention of the wood-cut and that of lithography. The film, at present, has the most highly developed technic of artistic reproduction. In the history of art the film represents something fundamentally new, namely, the reproduction of a work of art which aims precisely at such reproducibility. The second part of the investigation deals with the film as the specific form of art in the era of technical reproducibility.The first chapter develops the difference between manual and technical reproduction of a work of art. The second delimits the sphere of authenticity which forms the aura of a work of art and which is withdrawn from every reproduction. The third defines the character of modern perception as determined by the deterioration of the aura. The fourth chapter shows that the foundation of authenticity lies in the associations of ritual. The fifth deals with the difference between the cult-value based on ritual and the exhibition-value of a work of art. The sixth shows the various stages in the development of technical art to which the cult-value and the exhibition-value of a work of art correspond. The seventh treats the beginnings of the predominance of the exhibition-value over the cult- value in photography. The eighth throws light on the special position of Greek art due to its being almost completely lacking in methods of technical reproduction. The ninth draws attention to the difficulties which arise for traditional esthetics Through photography and the film.The second part of the investigation draws from the analyses of the first part certain conclusions concerning the theory of film-making. It concerns itself with the circumstances which make the film the work of art from which the modern change of function can be most clearly deduced. This change of function consists in the transference of the work of art from the realm of ritual to that of politics. (shrink)

The laws and principles which predict how perceptual qualities can be extracted from the most elementary visual signals were discovered by the Gestalt psychologists(e.g., Wertheimer,1923; Metzger,1930, translated and re-editedbySpillmann in 2009 and2012, respectively). Their seminal work has inspired visual science ever since, andhas led to exciting discoveries which have confirmed the Gestalt idea that the human brain would have an astonishing capacity for selecting and combining critical visual signals to generate output representations for decision making and action. (...) This capacity of selection and integration enables the perception of form and space, and the correct estimation of relative positions, trajectories, and distances of objects represented in planar images. This paper addresses problems of perceptual organization with critical implications for visual interfaces, and the design of surgical simulator platforms in particular. (shrink)