Gestalt studies made use instead of phenomenology.
Stumpf’s conception of Gestalt is closer to that of Bühler (D.
It is the free play of Gestalt that quickens the dead rigidity of form.
One partial exception to this pattern of neglect was Gestalt psychology.
Gestalt theory emphasizes that the whole of anything is greater than its parts.
Meinong’s conception of objects of higher order was strongly influenced by Christian von Ehrenfels’ Gestalt theory (Ehrenfels 1890).
A major goal of Gestalt theory in the 20th century was to specify the brain processes that might account for the organization of perception.
Gestalt psychology’s traditions continued in the perceptual investigations undertaken by Rudolf Arnheim and Hans Wallach in the United States.
While increasingly removed from its original formulation, the historical starting point for it all is Ehrenfels’ article on Gestalt qualities.
Fruitful though this emphasis on the “good Gestalt” has been, it cannot claim to have covered in its entirety the immensely complex subject of artistic form.
At this point, Zhuangzi starts to draw an analogy of dreaming and waking up to the shift in gestalt that comes when we leap to a more comprehensive perspective.
Field theory, in psychology, conceptual model of human behaviour developed by German American psychologist Kurt Lewin, who was closely allied with the Gestalt psychologists.
Christian von Ehrenfels, the founder of Gestalt theory, begins his seminal 1890 paper “Über Gestaltqualitäten” by reviewing Gestalt ideas in Mach’s Analysis of Sensations.
Given the Gestalt nature of relations, including in particular relations of comparison, Ehrenfels argues that Gestalten can themselves also be compared to one another and hence give rise to increasingly higher order Gestalt qualities.
In 1921 Köhler became head of the psychological institute and professor of philosophy at the University of Berlin, directing a series of investigations that explored many aspects of Gestalt theory and publishing Gestalt Psychology (1929).
The influence of the Gestalt psychologists is also apparent in works of visual aesthetics; e.g., Rudolf Arnheim’s Art and Visual Perception (1954), which explores the significance for our understanding of pictures of such well-known Gestalt phenomena as the figure-ground relationship and the perception of completed wholes.
Specifically, in the case of temporal Gestalt qualities “at most one element can be given in perceptual presentation”, the rest being available only in memory or anticipation, while non-temporal Gestalt qualities “are qualities whose foundation can be given completely in perceptual presentation” (Ehrenfels 1890; Smith 1988, 94).
Temporal Gestalt qualities, on the other hand, are generated by “every change of any kind in a presentational complex, providing it proceeds in some definite direction”, specifically, if such change “reveals a unified character, so that we have (or could have) a name to designate it” (Ehrenfels 1890; Smith 1988, 97 ff.), it identifies a Gestalt quality.
Kuhn likened the change in the phenomenal world to the Gestalt-switch that occurs when one sees the duck-rabbit diagram first as (representing) a duck then as (representing) a rabbit, although he himself acknowledged that he was not sure whether the Gestalt case was just an analogy or whether it illustrated some more general truth about the way the mind works that encompasses the scientific case too.
Having now found Gestalt qualities nearly everywhere, Ehrenfels suggests “that the theory of Gestalt qualities would perhaps be qualified to bridge the gulf between the various sensory regions, and indeed between the various categories of the presentable in general” (Ehrenfels 1890, Smith 1988, 114), which ultimately “would yield the possibility of comprehending the whole of the known world under a single mathematical formula” (Ehrenfels 1890; Smith 1988, 116).
Gestalt
noun cognition
- a configuration or pattern of elements so unified as a whole that it cannot be described merely as a sum of its parts
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Having now found Gestalt qualities nearly everywhere Ehrenfels suggests that the theory of Gestalt qualities would perhaps be qualified to bridge the gulf between the various sensory regions and indeed between the various categories of the presentable in general Ehrenfels 1890 Smith 1988 114 which ultimately would yield the possibility of comprehending the whole of the known world under a single mathematical formula Ehrenfels 1890 Smith 1988 116